DAYS OF WINE AND ROSES - Opening Night Critics' Reviews — Page 2

For an adult musical, the book feels eerily childish for the theme it depicts barring the motel scene, which I think is the highlight of the production. For what it is now, it feels rushed and more like connectors between songs than an organic component of the show.

I finally decided to purchase a ticket after all these glowing reviews and decided to listen to the cast recording, just to sort of cement my decision to see this musical. I'm glad I did, because quite frankly, I'm stunned that some posters here suggest this score is great and even has a chance of winning... I think it's one of the worst and most bizarre musical scores I've ever listened to, to be honest. Couldn't listen through a single song... Wishing this show luck anyway, love both leads.

The marketing is completely bizarre to me, it's like they're advertising it as a musical comedy to trick people into buying tickets.

I loved this show. Shocked it's not selling after NYT RAVE

Reviews have been posted for less than 48 hours, typically reviews don't affect sales until about two week after, so give it time before we come to conclusions regarding the audiences of this show.

Tough sell for this material in winter.

Finally had the chance to catch this tonight. Strange, haunting, and challenging. But also one of the most unique and rewarding pieces I've seen on Broadway in quite a while.

I can see how people would describe this as a song cycle in a play because it doesn't quite work as a book musical. Once I stopped trying to view it as a book musical, though I started to see the themes (musical or otherwise) emerge.

This show will not be for everyone, and I'm not surprised that it is polarizing. The music is also difficult to appreciate outside the context of the show. Having the chance to see two musical theater greats in these roles, though, was more than worth the price of admission alone. And while what Adam Guettel and Craig Lucas are trying to say is not the most approachable, it was at least interesting and thought-provoking. And that's more than can be said about many other shows on Broadway these days.

Stunning.



And that lighting design!!!

I saw the show this weekend, wasn't sure how it would work as a musical given the depressing subject matter butt Kelli and Brian made it sing. She had the best songs (I especially liked "First Breath" and "Morton Salt Girl") but I thought he gave the better performance. Brian's experience in plays helps with this material.

Tabitha Lawing, Byron Jennings, and David Jennings are also excellent in the ensemble.

Of the tech elements, I was most impressed with the immersive sound design, starting with the city noise as you walked into Studio 54.

In terms of logistics both Kelli and Brian stage doored, they were out within 20 minutes of curtain call.

I also have to give the show credit for having the exact running time listed in marketing materials, 1:45 with no intermission. Started at 3:02 and finished at 4:47.

Sadly the Saturday matinee was pretty sparsely attended, only three people in my row. Definitely not easy material, but I found it very powerful.

When I saw it on 2/4, the house was packed. (I was in the mezz).

My companion and I were deeply moved by it, but I can't see it's a show I'd return to, ever. In less capable hands (than Kelli and Brian) I don't see how this will survive in the regional market .

They knew this wouldn't be an easy sell, thus the limited engagement. I'm guessing they went for the exposure of Broadway.

Obviously theater is not meant to moralize, but I found something slightly icky about the plot: a man who drags his partner into the depths of alcoholism, then saves himself while she flounders. And although Kelli O'Hara sings beautifully and does the best she can on the acting front, the character of Kirsten felt very one-dimensional in comparison to Joe. I think the score has a lot of Guettel's unique signatures -- the musical language reminded me more of his early work than PIAZZA -- and it's a sleek production. But overall, it left me cold.

AC126748 said: "And although Kelli O'Hara sings beautifully and does the best she can on the acting front, the character of Kirsten felt very one-dimensional in comparison to Joe.

That's my issue with it and why I found it kinda moralizing. Once he gets clean, it turns into a play solely about Will she see the light? It doesn't bring you into her experience, but places you outside of it, judging it.

I felt like Kelli’s character went on more of a journey than him. I thought she was stronger.