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

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

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.

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.

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

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).

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

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

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

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.

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!

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

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 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.

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.