Days of Wine and Roses.I should start out by talking about Kelli O’Hara’s voice, which is the diamond at the center of, itself a jewel box of a musical. She sings with such clarity and control, making difficult bits of chromatic recitative look easy, in a way you might take for granted, up to the point where she will hit an emotional swell, open up her soprano, and throw sunlight across a horizon’s worth of clouds.
O’Hara plays a secretary named Kirsten, seduced in that moment by Brian d’Arcy James’s PR executive Joe, newly returned from the Korean War and a hard drinker. She abstained from alcohol before meeting him, but he convinces her to start drinking, and they both become hooked. The musical’s based on the teleplay by JP Miller, aired as part of the anthology series.
Guettel’s score is worth waiting for, even constrained by the directness of the premise. Aside from a few moments with their daughter , Joe and Kirsten are the only characters who sing, and Guettel has written O’Hara and James a range of styles, from operatic aria-lets to pitter-pattering imitations of jazzy jingles .
This is a play that’s comfortable leaving a lot of gaping wounds bleeding while still being quite funny. All three siblings have inherited addictive tendencies from their parents, expressed through their relationships with food, alcohol, or other drugs, and they all alternatively try to support one another but then drag them off the wagon.
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