Days of Wine and Roses review: Kelli O'Hara and Brian d'Arcy James are a perfect pair in stirring musical

More than two decades after starring opposite one another in the Tony-nominated production of Sweet Smell of Success, Brian d’Arcy James and Kelli O’Hara have reunited as a dashing couple whose blossoming relationship is poisoned by addiction in the stirring new musical, Days of Wine and Roses. 

Based on JP Miller’s original 1958 teleplay and its 1962 film adaptation starring Jack Lemmon and Lee Remick, the Michael Greif-directed musical, which opened at Studio 54 on Sunday, chronicles the whirlwind romance between public relations head honcho Joe Clay (James) and the refined, yet frank secretary Kirsten Arnesen (O’Hara). The pair, who meet at a work function, soon find themselves sneaking away to grab dinner together, where social drinker Joe introduces alcohol-avoidant Kirsten to the very first cocktail that she enjoys: a Brandy Alexander. 

As Joe and Kirsten’s relationship grows stronger, so does their dependency on alcohol. They announce the news of their marriage to Kirsten’s wary father (Byron Jennings) in a giddy, yet visibly drunken stupor and, soon after, discover that shouldering the societal expectations of new motherhood and being the household’s breadwinner following the birth of their daughter Lila (Tabitha Lawing) go down much smoother with a drink… or five. As their rose-tinted glasses slowly transform into beer goggles, the couple’s worsening alcoholism leads them to several shocking crossroads that not only threaten their marriage, but their very own lives. 

As a result, the success of Days of Wine and Roses hinges heavily upon the two actors playing Joe and Kirsten to not only sell their giddy highball highs of their heart-fluttering early romance, but also seamlessly plunge into the emotional waters of their deepest and darkest lows. O’Hara and James rise to the challenge tenfold, pairing perfectly with one another onstage with their incredible chemistry and treating book writer Craig Lucas’ powerful material with the nuance and gravity that it rightfully deserves. There are multiple times throughout the musical where viewers will find themselves genuinely on the edge of their seats just hoping that the pair can make it out of their respective downward spirals alive. 

A recently-returned Korean War veteran, James’ Joe has the weight of the world pressed upon him even before the musical begins. Although he attempts to bury his undeniable trauma under his flashy, impenetrable “1950s cool guy” attitude, James slowly and methodically chips away at Joe’s mask throughout the character’s alcohol-induced fall from grace to reveal a frightened, yet well-intentioned man who uses alcohol to cope with the uncertainty of life. His thundering performance of “Four Three Five” in scenic designer Lizzie Clachan’s impeccably crafted greenhouse is an unforgettable highlight of the evening, and sets the character off on a journey to remedy his past transgressions.  

Tony award-winning O’Hara, meanwhile, transforms into a true 1950s starlet as the complex Kirsten, who abuses alcohol not only as a way to court danger, but also to find a sense of connection with her husband. She stunningly wrestles with the gut-wrenching dichotomy of understanding that her character’s alcoholism is hurting her family, yet being unable to fully stop because of the fearlessness it gives her. It’s a difficult line to walk, but one that O’Hara easily navigates in her shining heels as she superbly vacillates between sharing her desire to learn more about the world in “The Story of the Atlantic Cable” on Kirsten and Joe's very first date to quietly weeping in bed, drink in hand. 

The pair’s performances are bolstered by book writer Craig Lucas’ strong material, which takes its subject matter seriously, but also isn’t afraid to make a poke fun along the way too. At one point, James sings a masterclass ballad about Joe truly seeing himself again through sober eyes (“Forgiveness”), only for his character’s Alcoholics Anonymous sponsor, who knows that not everything can be fixed in a few days, to dryly quip, “You’re a little full of s---.” Under Grief’s direction, there are a few scenes within the first and third act that feel a bit drawn out for the musical’s crisp, 90-minute runtime, but when Days of Wine and Roses is roaring on all cylinders, especially through its second act, it truly sings. 

Meanwhile, Adam Guettel’s music and lyrics bring a new sense of life to its source material by wonderfully painting a stark distinction between Joe and Kirsten’s early romance with each other (and alcohol) and the chillingly ominous cries for help that ring out in their later lamentations. As O’Hara and James’ voice soar in the fizzy, high-energy “Evanesce," its lyrics quietly foreshadow the dangers they’ll soon face as they gleefully sing about becoming “Two dolphins breakin’ a wave / Two dolphins right to the grave.” When the pair later relapse together, the song’s buzzy jazz beats and feel-good crooning return in a subsequent and powerful reprise of the track that highlights just how easy it is to be sucked back into their vices. 

Days of Wine and Roses is an affecting, unblinking portrayal of the reality of dealing with addiction that’s seldom seen on Broadway. While its subject matter won’t fill viewers with warm, fuzzy feelings or have them laughing out the door, it will hopefully allow those who have experience similar struggles to Joe and Kirsten to see themselves onstage or, at the very least, encourage viewers to better understand the severity of addiction and treat others with a sense of empathy. B

If you or someone you know is struggling with addiction, please contact the SAMHSA substance abuse helpline at 1-800-662-HELP. 

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