Two people stranded at sea, two people stranded are we…
The 2024 Broadway slate gets off to a dissonant and somber start, as the new musical Days of Wine and Roses begins previews tomorrow night (January 6) at Studio 54. Based on the 1962 film of the same name, the Off-Broadway transfer stars Kelli O’Hara and Brian d’Arcy James as the central couple Kirsten Arnesen and Joe Clay. The onstage cast also includes Byron Jennings, Tabitha Lawing, Sharon Catherine Brown, Tony Carlin, Bill English, Olivia Hernandez, David Jennings, and David Manis. Days of Wine and Roses features an original score by Adam Guettel, a book by Craig Lucas, choreography by Sergio Trujillo and Karla Puno Garcia, and direction by Michael Greif. Opening night is January 28, and it will run through April 28.
“Kelli O’Hara and Brian d’Arcy James star in a searing new musical about a couple falling in love in 1950s New York and struggling against themselves to build their family.”
Going next weekend! Looking forward to it. First show of the new year!
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
Soaring29 said: "I wonder if this will get O'Hara her second Tony."
She's certainly a strong contender. Along with Eden Espinosa, Gayle Rankin, and the young lady from The Wiz. Based on the Atlantic production, I'd love to see both O'Hara and D'Arcy James win.
ErmengardeStopSniveling said: "I don't have my Atlantic playbill in front of me, but –– is this Broadway orchestration list different than downtown? If so...yay!
Vito Chiavuzzo - Reed 1 Devin DiMauro - Reed 2 Mike Boschen - Trombone Christine Chen - Percussion Barbara Merjan - Drums Steven Malone - Keyboard Michael Stapleton - Piano George Farmer - Bass
I was hoping for maybe a few strings (other than bass), but this looks to be about 2 or 3 more than off broadway. I’ll take it!
-There's the muddle in the middle. There's the puddle where the poodle did the piddle."
What do we think is on the cast recording vs off Broadway and Broadway? I guess we’ll find out soon.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Just as depressing and heartbreaking as it was was at the Atlantic, that was a stellar first preview, and, when you’re dealing with stars of their caliber, the first show might as well be their 100th. Love or hate the score, as theatre telling a very specific story, it’s incredibly successful, in my opinion.
Whoo boy, that was stellar. Loved it just as much here as I did downtown. I really do hope they’re able to find an audience and get those ticket sales up, to have a successful run.
ljay889 said: "Did you notice any changes to the score? How did the slightly expanded orchestrations sound?"
I’m not the right person to ask this question, but I thought everything sounded great, and the vocal/orchestra mix in the rear mezzanine was perfect, in my opinion.
Comparing the song list off-Broadway and tonight, I see the song "Turlycue" is now "Letters" and "Lila Hangs the Moon" is now "Sammen I Himmelen (reprise)". Everything else is the same as it was.
This show is so stunning. Kelli O'Hara is giving such a devastating, memorable performance (wow), and Brian d'Arcy James is outstanding. They're superb together. I thought the Atlantic production was terrific last summer and it's grown on me since. I was worried about this losing intimacy with the transfer—there's something special about hearing Kelli O'Hara's voice up close in a small space—but it still felt involving from the rear mezz and the orchestra didn't sound lacking. I didn't sense many non-cosmetic changes since the Atlantic, other than the changes to the song list that have already been mentioned. With "Turlycue" becoming "Letters," I think they just changed the title, unless there were changes to the lyrics that I missed. It's such a strange and different score and it's gorgeous when it opens up and soars, like in "First Breath," "Forgiveness," and its reprise. But it takes getting used to, and the opening number isn't the most accessible. They need to give the father less heavy-handed dialogue, though Byron Jennings makes the most of playing a more taciturn character, but other than that, it's in great shape.
Rush seats seem to be in the rear mezz off to the sides. Not the little sections on the far sides, but the larger side sections. The TodayTix app showed rush seat locations before you purchase. I had to hold and release tickets for a bit because I was debating whether to go, and I saw that there were rush seats in a range of locations in the rear mezz, from row EE to row LL, all toward the sides. Sitting on the side is not an issue as a lot of the action takes place downstage, though I'd give house right the edge since a few more scenes, including the final one, take place toward the right.
I was on the street at 9:55, so the posted runtime of 1:45 seems accurate. No window cards at the merch table yet.
I am worried about people not knowing what to think of the show, especially since the score isn't super melodic, or people feeling surprised by how depressing it is... I did overhear someone on my way out apologizing to the person they were with for not realizing that the show was as dark as it was. It sounded like they both liked it, at least, but I hope that kind of surprised reaction doesn't put people off. It's really exciting to see more challenging and haunting shows like this transfer to Broadway, so I hope word of mouth is positive and it sells well.
Miss10036 said: "I am worried about people not knowing what to think of the show, especially since the score isn't super melodic, or people feeling surprised by how depressing it is... I did overhear someone on my way out apologizing to the person they were with for not realizing that the show was as dark as it was. It sounded like they both liked it, at least, but I hope that kind of surprised reaction doesn't put people off."
What could possibly lead them to being surprised by the darkness of the show...oh wait:
Honestly, it might as well have an exclamation point at the end.