Kelli O'Hara, Brian d'Arcy James to star in DAYS OF WINE & ROSES musical from LIGHT IN THE PIAZZA team- Page 6

[Fordham2015]

Posted: 5/17/23 at 7:03pm

Play Esq. said: "Kind of a rare thing recently...almost universal recommendation to see this show with very little qualification. Last time I saw that here was Kimberly Akimbo.

Even more looking forward to seeing this next month!"

Two shows that originate at the Atlantic

[Melissa25]

Posted: 5/17/23 at 7:13pm

This disappointed me.  I just could not get into the music which was more opera than musical theater.  I thought Kelli and Brian were devastating and wished that it were a play. I cannot see this transferring to Broadway.  I liked Piazza and look forward to seeing it at Encores in June but would be okay with not hearing this again.  

[RippedMan]

Posted: 5/17/23 at 8:23pm

Fordham2015 said: "Play Esq. said: "Kind of a rare thing recently...almost universal recommendation to see this show with very little qualification. Last time I saw that here was Kimberly Akimbo.

Even more looking forward to seeing this next month!"

Two shows that originate at the Atlantic"

Believe The Bedwetter is also aiming for Broadway this coming season, originating at the Atlantic.

[musikman]

Posted: 5/20/23 at 9:26am

Well, I thought this was absolutely stunning.  It’s a very difficult piece and really depressing, but just endlessly gorgeous.  It behaves like a chamber opera, and most of Kelli’s music absolutely soars.  She and Brian are doing incredible work up there, with their material being tailored to their strengths. 
 

I agree with others that this likely will not have a commercial life beyond this, but I’d love to see it even more fleshed out with a slightly larger pit.  If you’re looking for an adult, sophisticated, challenging piece of theatre, there’s not much better you could find in the city right now. 

[JasonC3]

Posted: 5/20/23 at 10:09am

Seeing this next week and very excited based on these comments.

Some of the thoughts about its future potential, particularly commercial, remind me of conversations when Passion first came out. 

[John Adams]

Posted: 5/20/23 at 11:05am

Valentina3 said: "... When did we all just forget this whole thing with Adam Guettel?

https://forum.broadwayworld.com/readmessage.php?thread=1112279&page=3"

His opinions are his opinions. They did not effect any outcome(s) for those he commented on.

Heard this story on one of my NPR podcasts this week: Claire Dederer on her book 'Monsters: A Fan's Dilemma' exploring the question, "Is it OK to enjoy art if its creator is compromised?"

Also, this review of Dederer's book: When art you love was made by 'Monsters': A critic lays out the 'Fan's Dilemma' , which includes this interesting question, "What if criticism involves trusting our feelings — not just about the crime, which we deplore, but about the work we love[?]"

"Good" people can do bad things and vice-versa. Speaking personally, I choose not to ignore the "bad", but I also at least try to accept the "good" as also, equally existing. 

 
Addendum. One more thought about cancel-culture, in general, whether it applies to any poster here, or not...

People who choose to cancel another person should *always* take the time to discover, weigh and evaluate *any* "good" that person may have done because when you cancel a *person*, you're not just destroying any "bad" they have done. You're also destroying the "good".

Unfortunately, I feel like many people don't agree with me on that.
 

Updated On: 5/20/23 at 11:05 AM

[ljay889]

Posted: 5/21/23 at 5:41pm

Saw the matinee today and wow, this is 100% a Kelli O’Hara vehicle. She is simply breathtaking. It’s a miraculous performance and probably the best I’ve seen her deliver in the last 18 years. Every single note is so carefully crafted for her voice, and she sounds glorious. For me, her performance is right up there with Ebersole in Grey Gardens, Patti in Gypsy, and Ripley in N2N. 
 

BDJ is excellent and perfectly matched with O’Hara. I do think they may need to lower his version of “Forgiveness” as he was struggling with the higher note. This is the best song in the show and O’Hara reprise was stunning. 
 

I love Guettel as a composer, but don’t expect the romantic or soaring moments of Piazza, as it simply doesn’t exist in this show. The only song that really soars is “Forgiveness.”

It’s definitely a complex score that will require a few listens to fully appreciate it. 
The book I thought was a little corny at times, but that could easily be improved if this ever moved.

I’m not sure there’s a commercial life for this piece, but Kelli’s performance has to be seen beyond this production. I also think the score would benefit from a larger orchestra. I enjoyed the lighting and set design, as well.

I am curious what the critics will make of this musical. I definitely wouldn’t  pass the opportunity to see it at the Atlantic.

Updated On: 5/21/23 at 05:41 PM

[steve.sometime]

Posted: 5/21/23 at 7:08pm

ljay889 said: "but don’t expect the romantic or soaring moments of Piazza, as it simply doesn’t exist in this show. The only song that really soars is “Forgiveness.”

I love There Go I better than Forgiveness. First Breath is quite lovely too.

 

[binau]

Posted: 5/22/23 at 2:21am

Would love the production to transfer to the Donmar or something if a commercial Broadway theatre does not seem like an appropriate end game. If timed well that could actually offer the opportunity to win a few Olivier awards and then perhaps transfer back to NYC for a limited Broadway run or something. Idk. That’s kind of the route Hadestown took isn’t it? (Off Broadway, National theatre, Broadway). 

[ErmengardeStopSniveling]

Posted: 5/22/23 at 11:00am

I don't think a London run somewhere like the Donmar would help its stock in NYC one bit (if that would be the primary goal of shipping this team to London). Unless the reviews eviscerate it and the team decides to go back and do a bunch of rewrites, the Atlantic run is about as high-profile as you get for off-B.

Wonder if this could be a FAR FROM HEAVEN situation.

[halfhourcheckwithmerman]

Posted: 5/22/23 at 12:10pm

I don't often post reviews here, because I don't love saying bad things about theater online. But I really can't say enough good things about this show.

The music is revelatory. Guettel's best so far, I think...  takes a bit to get used to, but once you're in it, you're in it. The beginning feels quasi-operatic (without ever delving into dull recitatif), and it's far more motivic than song-based, BUT I would strongly disagree with those saying there aren't strong standalone musical moments.

"There Go I" is a knockout, as is the song BDJ sings maybe halfway through (that ends with "everything is circular," but I don't know the song title), and both "Forgiveness"es, but to me "First Breath" is the highlight. A perfect song, and a glorious moment. I was sobbing. It reminded me of being halfway through "The Overcoat," the first time I read it. Wanting not to continue because you know there's no way your happiness can last beyond this moment.

I don't think there's a bad note all evening. Thin orchestration, but it fully captured his intention... although I'd love to hear a fuller pit for it soon. 

The book is a bit more iffy... you can definitely tell it's written by a man as the story more revolves around Joe, and Kirsten is more the passive one you feel sorry for. And why tell this addiction story, the well-off white couple in the 50s, etc, etc... I could say more about my issues with the book, but that's all nitpick-y, and when a show is this original and caring and -- to quote an earlier poster -- "endlessly gorgeous," there stops being a point to nitpicking. 

The two of them are perfection. Kelli hugs every note. I don't think there's a better singing actress working in the theater today. And he surprised me. Such depth and maturity and excitement. I felt honored to be in that theater. 

Updated On: 5/22/23 at 12:10 PM

[pagereynolds]

Posted: 5/22/23 at 12:14pm

halfhourcheckwithmerman said: "The book is a bit more iffy... you can definitely tell it's written by a man as the story more revolves around Joe, and Kirsten is more the passive one you feel sorry for. And why tellthisaddiction story, the well-off white couple in the 50s, etc, etc... I could say more about my issues with the book, but that's all nitpick-y, and when a show is this original and caring and -- to quote an earlier poster -- "endlessly gorgeous," there stops being a point to that.."

What a strange comment. You know the story is adapted from a play and a teleplay, right?

[verywellthensigh]

Posted: 5/22/23 at 1:50pm

NOT FOCUS-GROUPED TO MEET INCLUSIVITY-OBSESSED STANDARDS!!!!!!

Updated On: 5/22/23 at 01:50 PM

[binau]

Posted: 5/22/23 at 2:15pm

ErmengardeStopSniveling said: "I don't think a London run somewhere like the Donmar would help its stock in NYC one bit (if that would be the primary goal of shipping this team to London). Unless the reviews eviscerate it and the team decides to go back and do a bunch of rewrites, the Atlantic run is about as high-profile as you get for off-B.

Wonder if this could be a FAR FROM HEAVEN situation."

Remind me was there thought on why Far From Heaven didn't transfer? (beyond the usual no producer thought they'd take a bet on it). I don't really remember how well the show was received except for of course the reviews I could look back on. 

[ErmengardeStopSniveling]

Posted: 5/22/23 at 2:30pm

verywellthensigh said: "NOT FOCUS-GROUPED TO MEET INCLUSIVITY-OBSESSED STANDARDS!!!!!!

"

You're being snarky and irritating, but this is a story where it's A-OK that the primary characters are a white couple. In fact, if you think too hard about some of the other representation attempts in the casting it doesn't really work (an AA sponsor written nonspecifically and played by a Black actor sort of leans into overused "Black therapist/savior" tropes). But that won't be any factor in getting this show to Broadway or not; there are other, larger matters at hand, such as the bleakness of the story, the style of music, and the lack of bankability in the current cast –– and changing those things would hurt the show.

[ErmengardeStopSniveling]

Posted: 5/22/23 at 2:38pm

binau said: "Remind me was there thought on why Far From Heaven didn't transfer? (beyond the usual no producer thought they'd take a bet on it). I don't really remember how well the show was received except for of course the reviews I could look back on."

Ben Brantley found it inferior to both the source material film and Korie & Frankel's earlier work on GREY GARDENS.

I don't remember a commercial producer being attached. It was commissioned by Playwrights Horizons, and happened to be developed concurrently with BRIDGES OF MADISON COUNTY. By the time BRIDGES had opened & closed on Broadway a year later, Kelli & Steven & FFH may have been seen as damaged goods.

Updated On: 5/22/23 at 02:38 PM

[steven22]

Posted: 5/23/23 at 6:43pm

halfhourcheckwithmerman said: "I don't often post reviews here, because I don't love saying bad things about theater online. But I really can't say enough good things about this show.

The music is revelatory. Guettel's best so far, I think... takes a bit to get used to, but once you're in it, you're in it. The beginning feels quasi-operatic (without ever delving into dull recitatif), and it's far more motivic than song-based, BUT I would strongly disagree with those saying there aren't strong standalone musical moments.

"There Go I" is a knockout, as is the song BDJ sings maybe halfway through (that ends with "everything is circular," but I don't know the song title), and both "Forgiveness"es, but to me "First Breath" is the highlight. A perfect song, and a glorious moment. I was sobbing. It reminded me of being halfway through "The Overcoat," the first time I read it. Wanting not to continue because you know there's no way your happiness can last beyond this moment.

I don't think there's a bad note all evening. Thin orchestration, but it fully captured his intention... although I'd love to hear a fuller pit for it soon.

The book is a bit more iffy... you can definitely tell it's written by a man as the story more revolves around Joe, and Kirsten is more the passive one you feel sorry for. And why tellthisaddiction story, the well-off white couple in the 50s, etc, etc... I could say more about my issues with the book, but that's all nitpick-y, and when a show is this original and caring and -- to quote an earlier poster -- "endlessly gorgeous," there stops being a point to nitpicking.

The two of them are perfection. Kelli hugs every note. I don't think there's a better singing actress working in the theater today. And he surprised me. Such depth and maturity and excitement. I felt honored to be in that theater."

I’m seeing the show tonight. Your review has me excited. I’ll report back! 

[fan1bsb97]

Posted: 5/23/23 at 8:54pm

I'm going in a few weeks by myself. Typically I see shows in the regular Broadway district and walk back to Penn Station. What is the area like by the theater? Will I be ok walking back alone at 10:00?

[steven22]

Posted: 5/23/23 at 9:08pm

I’m walking back from the show tonight. 
 

I was able to snag a TodayTix ticket this morning. Originally I was seated on this stadium style bench seat but the usher moved all of the TodayTix winners to a few random seats throughout the theater. I was in the center of the fourth row with a great view. 
 

I went into this expecting to love it. I really liked it but didn’t love it. Maybe after a repeat viewing. 

Kelli O’Hara and Brian d’Arcy James are just going wonderful. Their chemistry plus their vocal and acting talents can’t be beat. I’m excited to hear others’ take on this production. 

Updated On: 5/23/23 at 09:08 PM

[ColorTheHours048]

Posted: 5/23/23 at 9:16pm

Oof. This was a chore and a half to sit through. Starting from the Very Special Episode book; to the hideous, atonal score; to the wooden performances of even Brian and Kelli; to the baffling use of the ensemble (if I saw one more person cross the stage looking at the lead couple in disgust, I swear to God). I’m just so perplexed by why anyone thought this needed to be a musical, let alone why we’re getting such a high profile production.

The best thing about the evening was the ad I got in the Playbill for Lucas Hnath and Steve Cuiffo’s A Simulacrum. Now, that sounds interesting. This was just the longest, most pat commercial for AA I’ve ever seen.

[JasonC3]

Posted: 5/24/23 at 9:17am

Not debating the merits of the show (which i don't see until this weekend), but wouldn't just about anything from Guettel right now get a reasonable production and some higher profile stars potentially wanting to be a part of it?

[ColorTheHours048]

Posted: 5/24/23 at 9:44am

JasonC3 said: "Not debating the merits of the show (which i don't see until this weekend), but wouldn't just about anything from Guettel right now get a reasonable production and some higher profile stars potentially wanting to be a part of it?"

I mean, duh. I’m saying it’s so rough and, honestly, amateurish looking and sounding, that I’m kind of shocked it’s here in this moment with such incredible talent wasted. And then I went back and listened to Guettel’s demos and so much of it is unchanged, I can’t help but feel this is just… it.

Obviously Brian and Kelli have incredible instruments, and they technically sound lovely and as remarkable as ever, but who cares when the music and lyrics are so ugly and bland.

[pagereynolds]

Posted: 5/24/23 at 9:47am

ColorTheHours048 said: "JasonC3 said: "Not debating the merits of the show (which i don't see until this weekend), but wouldn't just about anything from Guettel right now get a reasonable production and some higher profile stars potentially wanting to be a part of it?"

I mean, duh. I’m saying it’s so rough and, honestly, amateurish looking and sounding, that I’m kind of shocked it’s here in this moment with such incredible talent wasted. And then I went back and listened to Guettel’s demos and so much of it is unchanged, I can’t help but feel this is just… it.

Obviously Brian and Kelli have incredible instruments, and they technically sound lovely and as remarkable as ever, but who cares when the music and lyrics are so ugly and bland."

I'm not sure bland is the right word, especially for the lyrics. But inappropriate, yes. Those characters are in no way using those lyrics to express how they feel.

[steven22]

Posted: 5/24/23 at 10:05am

pagereynolds said: "ColorTheHours048 said: "JasonC3 said: "Not debating the merits of the show (which i don't see until this weekend), but wouldn't just about anything from Guettel right now get a reasonable production and some higher profile stars potentially wanting to be a part of it?"

I mean, duh. I’m saying it’s so rough and, honestly, amateurish looking and sounding, that I’m kind of shocked it’s here in this moment with such incredible talent wasted. And then I went back and listened to Guettel’s demos and so much of it is unchanged, I can’t help but feel this is just… it.

Obviously Brian and Kelli have incredible instruments, and they technically sound lovely and as remarkable as ever, but who cares when the music and lyrics are so ugly and bland."

I'm not sure bland is the right word, especially for the lyrics. But inappropriate, yes. Those characters are in no way using those lyrics to express how they feel."

^ I think you’ve expressed exactly how I felt. I couldn’t pinpoint it. Hopefully they make changes. I can see a future for this show with some changes. 

[bwayphreak234]

Posted: 5/24/23 at 11:57am

ColorTheHours048 said: "Oof. This was a chore and a half to sit through. Starting from the Very Special Episode book; to the hideous, atonal score; to the wooden performances of even Brian and Kelli; to the baffling use of the ensemble (if I saw one more person cross the stage looking at the lead couple in disgust, I swear to God). I’m just so perplexed by why anyone thought this needed to be a musical, let alone why we’re getting such a high profile production.

The best thing about the evening was the ad I got in the Playbill for Lucas Hnath and Steve Cuiffo’s A Simulacrum. Now, thatsounds interesting. This was just the longest, most pat commercial for AA I’ve ever seen."

I had a very different experience and reaction to the show, performances, and material. While I wasn't a huge fan of the episodic book and think it could use some work, I thought the score was great and fitting for the most part. As for why it needs to be a musical, we could ask that about any movie to musical adaptation these days... However, as someone who has battled alcoholism personally, and seen and experienced first hand the havoc is can wreak on one's life and one's family, I found this show to be extremely poignant and much more than a "commercial for AA"... I thought that the exploration of the themes and depictions surrounding alcoholism were extremely spot on.