DAYS OF WINE AND ROSES Previews — Page 5

I saw the show this past week, and wow: Kelli and Brian are giving master-class performances. I really hope they’re remembered come Tony time. I thought the slightly larger orchestration really added a lot; I wish this were the recorded version of the score. New woodwind flourishes in “First Breath” are beautiful additions. While I miss “Lila Hangs the Moon,” I can see why it was omitted and changed to a reprise.

I applaud anyone trying something new with how the structure of a musical works. This felt like a two-person musical within a play, and I didn’t mind it one bit. Yes, the ensemble is played by extremely talented performers. It makes their brief moments really stand out. I see that as a good thing rather than a bad thing. Am I saying this show is flawless? No, but it really worked for me and I think it’s an effective treatment of the material.

Chaz Hands said: "willep said: "I just think they were superfluous and the show could’ve been just the two of them"

This is also my opinion of Bridges.

Some of these two handers artistically would pop more if they just stayed mostly two handers.

rattleNwoolypenguin said: "TaffyDavenport said: "Matt Rogers said:

"I hated this. She drinks one chocolate martini and she is an instant alcoholic?"

I get if this show isn't for you or you had issues or whatever- but this is ignorant.

The tragedy of this story is he doesn't know when he gets her that drink that he's started a ball rolling.

It's real. It's genetic.

"

Well said-- this is an ignorant comment about how addiction works (and its not the same for everyone, so to just declare THIS ISNT HOW IT WORKS is quite the morsel of stupidity). But this comment ALSO totally misses the point of the play--which i did not love, but certainly takes the care to show a slow descent into alcoholism for Kelli's character. its NOT "she takes one drink and is an alcoholic mess"- the 90 minutes is almost the sheer opposite of that.

Chaz Hands said: "willep said: "I just think they were superfluous and the show could’ve been just the two of them, the daughter and the father."

I agree! I don’t think the ensemble needed to do more. I just don’t think they needed to be there. I thought it could have been a 5 person musical, Joe, Kirsten, Lila, the dad, and the sponsor (who could’ve gotten an extra scene and/or song had we eliminated some of the other superfluous scenes, such as the bookstore scene.)

And calling this score abysmal is definitely a choice lmao. I (and presumably most of the Tony voters) would prefer a score like this, over shows such as Mr. Saturday Night and Tootsie, which were both nominated for Best Score. But I’ll be the first to admit I’m wrong if it doesn’t get nominated for Best Score!"

It will definitely be nominated for Best Score. Tony voters live pretentious atonal stuff like this.

rattleNwoolypenguin said: "Chaz Hands said: "willep said: "I just think they were superfluous and the show could’ve been just the two of them"

This is also my opinion of Bridges.

Some of these two handers artistically would pop more if they just stayed mostly two handers."

Totally. I’d loved to see a stripped down version that is just the 4.

I don't personally mind if people use the word 'atonal' - I understand that it is technically incorrect in terms of music theory - but I understand the sentiment (they really mean it doesn't sound melodic I think). I've listened to the cast album now approx. 30 times according to iTunes play counts - and I still think this is one of the least melodic and least accessible scores I've ever heard. I am almost certain that if people care about melodic musicals (which is the majority of the general public I think) they will not enjoy the music at all. But it's just absolutely fascinating. The orchestrations are weird and not quite like anything I feel I've heard before - although I can't say the orchestrations have their own identity either. I do think the music is genuinely new/innovative though, it really is haunting. I don't know if I could even say I enjoy it or recommend the show to anyone except basically a select group of people on this forum lol.

Updated On: 1/24/24 at 01:38 PM

This whole discourse makes me think people truly ignore Michael John LaChiusa.

Opening night this Sunday is on TDF, noted as mezzanine only.

Updated On: 1/24/24 at 06:12 PM

Tonight’s preview looked well sold outside of the nosebleeds minutes before showtime, which probably tells me reviewers / critics / bloggers were invited.

I had a tough time getting into this at the beginning but once the romance started I was fully engaged. The opening number was really hard to connect with. Kelli sounded sensational as always and her acting in this might be her best ever. She is a real talent. I knew nothing about this going in and couldn’t believe how heartbreaking it was. There are some beautiful songs. The set is quite hideous and tacky (especially in the opening number, the lighting was just garish) with the exception of the very lovely greenhouse. I shed a few tears towards the end…a very sad story.



I would have cut all the characters outside of the four family members. They felt unnecessary and distracting. I reminded me of Bridges of Madison County in that way. I wish the set and lighting could have better suited this show. We’ve so spoiled by Pizza and the revival of South Pacific…I’ve grown accustomed to seeing Kelli in classy, sumptuous productions. This feels drab, cold, and uninspired.



I am absolutely speechless at how bad the marketing and poster for this show is. It looks like bad dinner theatre or a cruise. I know not everyone can be James McMullan but this particular poster does SO little for the show. Tacky, uninspired, and a misrepresentation of this subtle and brittle little chamber musical. A shame Broadway can’t seem to get the marketing right, or even close to it.

Auggie27 said: "No one can convince another that a piece of music is memorable. Yet I find myself baffled by those who insist this show completely lacks melody. I'd invite anyone to listen to "First Breath," "As the Water Loves the Stone," and the soaring "Forgiveness" and insist they lack haunting melodies. Guettel writes character, and here employs a musical lexicon that gives voice both to the ineffable -- the inexpressible internal emotional life -- and circumstantial confrontations. It is decidedly challenging. Yet to my ear, still accessible. One confrontational song that in performance broke my heart is "Morton Salt Girl," an entreaty to Joe to back off from 12-step proselytizing. O'Hara's Kristen weaponizes resentment, feeling rejected by the man who introduced her to a world they shared. I find it shattering, precisely what we want from a musicalized version of this story, and brilliantly revisited when Kristen reprises "Forgiveness." It's not easy, this gnarly show, but to me, rewarding; I can't shake it."

That's why I love this new score. I think it has some "out" songs but there are genuine beautiful soaring melodies here as well.

Considering they just released the Off Broadway recording with the same leads, I’d say there is zero chance of an OBCR.