The play by JP MIller turned Academy Award winning film is now bursting with high-enegry musical numbers at the Linda Gross Theater.
J.P Miller’s “Days of Wine and Roses” has stood the test of time among many of the works of the “Golden Age of Television.” The teleplay, originally written in the 1950s, was turned into an award winning film in 1962 and later revived Off-Broaway and on West End.
However, the piece has yet to see mainstream light in almost two decades—until now.
“Days of Wine and Roses” is now an Atlantic Theater Company musical production from writers Craig Lucas and Adam Guettel. Lucas and Guettel are the creative minds behind “The Light in the Piazza.” This is the first time the duo have collaborated since the Tony-winning musical debuted.
The latest adaptation of “Days of Wine and Roses” introduces new musical numbers to the work to give it a more charismatic feel. Despite this, “Days of Wine and Roses” stays true to its original storyline. Public relations executive Joe Clay and secretary ften Arnesen meet and soon a whirlwind relationship ensues. But, the two become alcoholics and soon their love for drinking becomes more important than their love for each other. Even after the two welcome their first child, the drinking never stops. “Days of Wine and Roses” is a true testament to the results of addiction. It’s a constant repetition of wanting, but never doing.
Kelli O’Hara and Brian D’Arcy James as Joe Clay and Kirsten Arnensen
The pacing of the musical is brilliant—never dragging at times, but filled with scenes that are cycled one after the other flawlessly. Sitting in the audience watching addiction slowly destroy the couple bridged on maddening. Hope is palpable in the story, but it comes at a cost especially for their daughter Lila (Ella Dane Morgan). “Days of Wine and Roses” additionally strays away from the typical musical structure by never relying solely on music to tell the story. Each song has a purpose in terms of emotions and the vulnerability that expels from Joe and Kirsten. Most of the numbers are solos or duets between the two so it’s quite fitting.
Kelli O’Hara and Brian D’Arcy James are superb in their roles as the couple. Both are respected actors with a history of renowned dramatic roles both on stage and on screen. O’Hara’s portrayal of Kirsten is raw, and unwavering. She gives light to the meaning of destruction as she turns from a know-it-all, goody-two shoes to a woman consumed by her own vices. Those vices are brought on by her husband, but her uphill battle is far steeper. It became troubling at times to watch how far the extent of Kirsten’s actions went. And James is a man who blames his vices on his upbringing. However he soon sees how unrecognizable he is and tries to change. It’s a trial and error period of the couple’s life.
The stage is completely transformed through minor set details that showcase the home atmosphere of it all. A partial part of the production occurs within the family’s home which shifts due to a fire that leads them to live with Kirsten’s father (Byron Jennings). The dynamic between Kirsten’s father and Joe is quite unsteady with Kirsten’s father believing Joe is the reason he figuratively loses his daughter. And while there is truth to this sentiment, Kirsten acts on her own. Her actions begin with Joe’s cohesion, yet end by her own manner.
“Days of Wine and Roses” is truly a metaphor for how beauty fades in the eyes of gluttony and greed. The musical ends with a slight glimmer of hope brought by Lila. It’s not a hope for her family to put the pieces back together of what they once were, but to accept their new lives and move on. Even when the family is completely split. It’s a message that I think we can all relate to.
Tickets to “Days of Wine and Roses” are available now. The play runs until July 16.
