‘DAYS OF WINE AND ROSES’: Brian D’Arcy James & Kelli O’Hara. Photo: Joan Marcus

DAYS OF WINE AND ROSES
Book by Craig Lucas
Music & lyrics by Adam Guettel
Directed by Michael Greif
Through March 31, 2024
Studio 54
254 West 54th Street
(212-719-1300), https://daysofwineandrosesbroadway.com/

By David NouNou

Having seen newcomers Kelli O’Hara and Brian D’Arcy James perform together in 2002 in the musical adaptation of Sweet Smell of Success, it is hard to imagine that was 22 years ago, and they are now Broadway veterans. Between the two of them they have performed in such shows as Hamilton, The King and I, Into the Woods, and The Pajama Game, just to name a few. After all these years and all the shows they’ve been in, they are now at the top of their game in this musical adaptation of Days of Wine and Roses.

If one is familiar with the 1962 movie of the same name with Lee Remick and Jack Lemmon, now it is set as a musical. The setting is still New York City in the 1960s, Kirsten Arnesen (Kelli O’Hara) and Joe Clay (Brian D’Arcy James) are an ideal couple: they are young, beautiful, career-oriented, and in love. They get married and have a daughter. Seemingly they are the perfect couple. However, their idyllic world is shattered by an addiction called alcoholism. Starting out as social drinkers, they quickly descend into their hellish lives with Joe losing his job, and they both turn to Kristen’s father, Arnesen (Byron Jennings) for financial assistance, only to get themselves in another destructive bender that does irretrievable damage.

Joe tries multiple times to get himself help and climb out of his hell, if for no other reason but to be there for their daughter but Kristen refuses to let go of her demons. It’s a formidable tale of addiction at its most gripping.

Did the show need to be musicalized? Probably not. The book by Craig Lucas is flawless in following the original script of the movie and could have stood by itself. The score by Adam Guettel is so listless and forgettable that the show could have done without this banal score. However, if one wouldn’t have had the score, one would miss the glorious operatic voice of Kelli O’Hara.

Days of Wine and Roses, The Musical survives due to the magnificent performances of its two leads. Kelli O’Hara has never shown such a range of character, emotion and vulnerability in her performances as she is demonstrating here. The term incandescent is so appropriate and her vocalizing is glorious.

Brian D’Arcy James has given numerous wonderful performances. He is a quintessential musical leading man and here, as Ms. O’Hara hits all the emotional notes,  is also demonstrating his vulnerability.

Michael Greif, director of such hits as Dear Evan Hansen, Rent and Next to Normal has hit another high point in his career by extracting and pacing his two leads and having them give the performances of their careers.

Coming out you will miss the beautiful melodic and haunting 1962 Oscar winning song “The Days of Wine and Roses” by Henry Mancini and Johnny Mercer, but you will also come out remembering the performances of Kelli O’Hara and Brian D’Arcy James.

Edited by Scott Harrah
Published February 21, 2024
Reviewed at February 20, 2024 performance.

‘DAYS OF WINE AND ROSES’: Brian D’Arcy James & Kelli O’Hara. Photo: Joan Marcus.

‘DAYS OF WINE AND ROSES’: Brian D’Arcy James & Kelli O’Hara. Photo: Joan Marcus.

‘DAYS OF WINE AND ROSES’: Kelli O’Hara & Brian D’Arcy James. Photo: Joan Marcus.

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‘CAMELOT’: Phillipa Soo & Andrew Burnap. Photo: Joan Marcus.

CAMELOT
Music by Frederick Loewe
Original book & lyrics by Alan Lerner
Book by Aaron Sorkin
Based on T. H. White’s The Once and Future King
Directed by Bartlett Sher
Vivian Beaumont Theatre
150 West 65th Street
(212-239-6200), https://camelotbway.com/

By David NouNou

Lord, save the musical theatre from heavy-handed “serious” writers who insert themselves into classic musicals in the name of reinventing them. Camelot was the next venture for Lerner and Loewe following their smash hit My Fair Lady. They tackled T. H. White’s fantasy novel The Once and Future King, which were short stories based about King Arthur based on the 1485 work Le Morte d’Arthur by Sir Thomas Mallory. They created this fantasy world for the theatre about King Arthur, meeting and marrying Guenevere, creating the round table with knights of the highest order and valor, and its most formidable knight Lancelot du Lac. Visually, Camelot was and may still be the most opulent, extravagant, lavish and colorful musical ever created. I know, I saw it and remember it vividly, thanks in large part to my parents taking me to the theatre at a very early age.

The book by Mr. Lerner wasn’t perfect; it contained too much plot and so many characters but it had an easy flow. The score was sublime especially the lilting music by Mr. Loewe. This is not an easily revivable musical in great part because of the complicated and overlong book and Aaron Sorkin hasn’t made it any better. Between him and Bartlett Sher—who is a formidable director of musicals: South Pacific, The King and I, My Fair Lady,  all under the banner of Lincoln Center—have stripped the fantasy, joy, glory, pomp, extravagance and whimsy and left us this dreary, vapid, monochromatic, joyless world that once was known as Camelot.

Starting with Arthur (Andrew Burnap) hiding from his arranged betrothal to Guenevere (Phillipa Soo), Princess of France, to end the wars and seal the relationship between England and France. Arthur and Guenevere, while escaping from her retinue, stumble upon each other in the wintry woods near the castle where Arthur explains the virtues of Camelot in the song “Camelot.” The two form a bond, which will lead to the creation of the round table. Arthur’s mentor and tutor, Merlin (Dakin Matthews), before dying, warns Arthur of impending doom but doesn’t tell him what it is. In walks Lancelot (Jordan Donica), the knight of the highest ideals singing his own virtues in “C’est Moi.”

Temptation does enter this magical kingdom of virtue, morals and standards where no one is above the law. Arthur’s illegitimate son, Mordred (Taylor Trensch), is the snake in the garden of Eden who tempts Lancelot and Guenevere to be caught together, and causes the undoing of Arthur and all of his idealistic dreams.

Again, although it wasn’t perfect, Lerner and Loewe attempted to create a beautiful world where one could hope for a better future. In Sorkin and Sher’s world, on the enormous Vivian Beaumont stage, their world starts out bleak, threadbare, and has no chance for any higher ideals, the illusion and fantasy are missing and there is no hint of it in Michael Yeargan’s nonexistent sets. Instead of armor, gossamer and brocade, the costumes by Jennifer Moeller are so drab, dreary and adorned with black leather that this Camelot lacks any illusion, mystique or charm.

Thankfully, what is kept intact is the beautiful and melodic score and that is in large part due to its musical director and conductor Kimberly Grigsby. One can just close one’s eyes and listen to Ms. Grigsby and her full glorious orchestra and I’ll quote “Don’t let it be forgot, that once there was a spot, for one brief shining moment that was known as Camelot.”

Edited by Scott Harrah
Published April 16, 2023
Reviewed at April 15, 2023 press performance.

‘CAMELOT’: Phillipa Soo, Andrew Burnap, Dakin Matthews & Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica. Photo: Joan Marcus.

‘CAMELOT’: Andrew Burnap. Photo: Joan Marcus.

‘CAMELOT’: Jordan Donica & Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo. Photo: Joan Marcus.

‘CAMELOT’: Taylor Trensch & Marilee Talkington. Photo: Joan Marcus.

‘CAMELOT’: Danny Wolohan, Anthony Michael Lopez, Fergie Philippe & Dakin Matthews. Photo: Joan Marcus.

‘CAMELOT’: Phillipa Soo & cast. Photo: Joan Marcus.

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