DAYS OF WINE AND ROSES Previews — Page 4

Tom Aldredge received a Tony nomination for Passion, and didn’t sing a word in it.


There no rule that a character HAS to sing for the sake of being in a musical.

Saw this last night (Saturday, 1/13, house left orchestra, row L).

I’m glad I saw it! Yes, it’s devastating, heartbreaking and I was in emotional knots by the end. It took me a couple songs to get into the sound Guettel has created for this story, but after that, the score along with Craig Lucas’ book worked for me.

For anyone touched by alcoholism this will be a tough one IMO. Their love is entangled with their drinking … we watch the dangerous impact drinking has on their lives and family.

I know I would like it even more if I could see and hear it again.

The audience felt fidgety which was distracting.

GottaGetAGimmick420 said: "I really wanted to like this. I love Adam Guettel. But ultimately, this was a huge bust. Brian and Kelli did the best they could with the weak script, but I found myself more disappointed in the overall score. I wanted more from the father and sponsor character at the end. I won't be surprised if this ends up with an award snub with just a nod to Kelli and maybe Brian for acting.

I thought this was Michael Grief's laziest direction by far. That made me the most disappointed.

Rush was pretty easy to get. $50 was the perfect price. I was second row right back mezz section."

Did you do the TodayTix digital lottery or an in person rush? Many thanks

Auggie27 said: "Broadway Flash: we agree. I'm not seeing the show until Wednesday, but I can't shake its power, revisiting the numbers in performance sequence on Spotify. By the third full listen, I was completely sold on the score as an exquisite piece of world building. It has that unique quality of nailing both time and place and tone of the prism on the familiar (to Boomers perhaps) story. No, this is not sentiment-driven (like Mancini, whose iconic theme some people seem to miss; so wrong for this telling) This is a new set of eyes and ears on these characters, and the result is a jarring, scary point of access. Discordant, open-ended, slivers of imagery-driven. Yet the palette shifts, and we we land on "As Water Loves the Stone," a small, lush romantic moment in the middle, Guettel isn't afraid to give us a dark melody to hold onto, as Joe holds on. But the score's cumulative impact feels a big part of its success: by the end, that haunting reprise of "There I Go," we've been immersed in these lives."

I haven't heard a note of this score, but must take exception to your saying that Mancini's theme is somehow "sentimental" - it is anything but sentimental. The theme itself is haunting certainly, but sentimental? And his actual score for the film is one of his best and it is very dark and brooding when it needs to be. I just don't get the "sentimental" part. In actuality, there is nothing I find sentimental in the film.

This one is certainly proving to be polarizing on the boards. I really admired this at Atlantic, and I'm looking forward to seeing it again on Broadway this weekend. It's not a happy or feel-good show. If you want that, there are PLENTY of options on Broadway right now that fit that mold... this just isn't one of them. Like ljay just eloquently said, "I don’t go to shows to have fun, I go to think and feel".

Kelli and Brian are both giving what I think are the best performances of their careers thus far in this. It's a shame this likely won't be open when the Tonys occur in June barring an extension... I think both of them are VERY worthy of wins, but the fact that the show will have been closed for a couple months isn't going to work in their favor - especially in such a crowded season.

PipingHotPiccolo said: "A couple of people here seem to think that we are demanding they rewrite the story to make Sharon Catherine Brown's character(s) the lead. You're missing the point: its frustrating to see someone THAT talented (in this case vocally, but in general) "wasted" in a show and not being given an opportunity to show off their talents."

I understand, and I'm honestly not trying to give you a hard time! But I don't think it's fair to count this as a negative against a production. Short of writing new material for a character, the only other way to remedy the situation would have been to decline to hire a performer because they're too talented for the role, and that doesn't seem like a good solution either.

kdogg36 said: "PipingHotPiccolo said: "A couple of people here seem to think that we are demanding they rewrite the story to make Sharon Catherine Brown's character(s) the lead. You're missing the point: its frustrating to see someone THAT talented (in this case vocally, but in general) "wasted" in a show and not being given an opportunity to show off their talents."

I understand, and I'm honestly not trying to give you a hard time! But I don't think it's fair to count this as a negative against a production. Short of writing new material for a character, the only other way to remedy the situation would have been to decline to hire a performer because they're too talented for the role, and that doesn't seem like a good solution either."

Oh, I agree. Its not a ding against the show that its tiniest parts are played by immensely talented people. I'm just reporting my own experience of anticipating/hoping for these guys to be given something to do. I'd rather they have jobs than not, and I'd also be fine if the show was just a two-hander between the two leads (which in many ways it could have been). But yes 100% the usage of Brown/Jennings has nothing to do with the show's strengths/weaknesses.

Caught this again this weekend after seeing it at ATC earlier last year. The show is exactly the same with just some neon signs added to the set. Kelli O'Hara and Brian D'Arcy James are turning in truly incredible performances. Top notch in every aspect. The motel scene alone is a master class in acting.

I admired and liked the show a lot at ATC. However, I think I got even more out this one the second time around. It's a very unique and challenging piece that honestly feels like "a breath of fresh air" after some of this season's new musicals. It really can't be compared to anything else on Broadway right now.

The score, like the show itself, is challenging. It has a sophisticated elevator music vibe to it, and I don't mean that in a bad way at all! The vocals are, obviously, divine and impeccable. Both Kelli and Brian fill the cavernous Studio 54 with their resounding voices in the same way the shook the roof of the tiny Atlantic.

As someone who has battled and overcome alcoholism first hand, I can testify that the portrayals and themes are spot on albeit maybe a little heavy handed at times.

I highly recommend this in general, but especially to theatergoers who are looking for something that's more than just a fluffy good time - this is a thought-provoking musical that is full of intense and raw emotion. I really hope this gets the attention it deserves come Tony nominations time.

When do we get to say we've overcome it?

As someone who has battled and overcome alcoholism first hand, I can testify that the portrayals and themes are spot on albeit maybe a little heavy handed at times.

Updated On: 1/22/24 at 07:21 PM

I saw the show this weekend, and while I don’t think it was a perfect show, I liked it better than most of the new recent musicals that have opened on Broadway.

I can’t see a world in which this isn’t nominated for at least Best Musical, Best Score, Best Actor, and Best Actress.

Yes, the ensemble was under-used. Yes, there weren’t any hummable tunes. But there is so much beautiful singing and storytelling happening on that stage. If Kelli doesn’t win the Tony for her performance, I’ll be flabbergasted.

Chaz Hands said: "I saw the show this weekend, and while I don’t think it was a perfect show, I liked it better than most of the new recent musicals that have opened on Broadway.

I can’t see a world in which this isn’t nominated for at least Best Musical, Best Score, Best Actor, and Best Actress.

Yes, the ensemble was under-used. Yes, there weren’t any hummable tunes. But there is so much beautiful singing and storytelling happening on that stage. If Kelli doesn’t win the Tony for her performance, I’ll be flabbergasted."

Best score?? You’re probably right that it will be nominated just because of who he is but seriously???? It is almost like he stuck a paper bag over his head and jus plunked whatever keys his fingers landed on and called it a score. I found it to be truly abysmal.

What is the obsession with wanting the ensemble to do more? The story isn’t about them. They weren’t going to rewrite the source material to give the babysitter and toy store owner storylines. Very talented actors taking these minor roles is their own choice.

Updated On: 1/22/24 at 10:15 PM