It’s not difficult to unwittingly slide into alcoholism. Throughout history, artists have been drawn to the romantic premise that alcohol taps into one’s subconscious, helping perceive and depict the world differently, energizing creativity. In some cultures, every important event offers license to excessively imbibe out of tradition and a sense of occasion. Drinking together has become an essential way to bond. Biologically suppressing frontal cortex activity and increasing endorphins tends to make people lose inhibitions.
This can be convivial or coercive. “George Washington first won elective office in 1758 by getting voters soused. He’s said to have given them 144 gallons of alcohol, enough to win 307 votes and get a seat in Virginia’s House,” reports Kate Julian in her Atlantic article, America Has a Drinking Problem.
Kelli O’Hara (Kirsten), Brian D’Arcy James (Joe)
There are those whose chemistry dictates the craving through genetics. Science declares this a 50% higher risk factor and cautions awareness. And there are, or perhaps more accurately were, professions that entailed frequent entertaining of clients requiring drink. In the fifties, this was common practice. Film and literature are full of examples. One of these is Public Relations man Joe Clay.
1950 New York. Joe Clay (Brian D’Arcy James) is an ambitious young man whose advertising PR duties include regular drinking with and procurement for clients. Acting in this capacity, he mistakes the boss’s secretary Kirsten Arnesen (Kelli O’Hara) for one of his ‘girls’, repeatedly offers her a cocktail, and tries to usher her into a shipboard party cabin. Kirsten is a fresh faced farm girl who doesn’t drink, but is not completely naïve. Finding Joe attractive, she suggests they go elsewhere to dinner. (In the film of the same name, Joe doggedly pursues her.)
Byron Jennings (Mr. Arnesen), Brian D’Arcy James (Joe), Kelli O’Hara (Kirsten)
They get along. Joe asks what she particularly enjoys if not liquor. “Chocolate,” comes the blushing response. Her suitor then plies Kirsten with Brandy Alexanders. By the time they get to the water’s edge near her apartment, both are happily drunk and romantically entangled. Revealing personal information includes her attraction to danger, foretelling things to come.
Compressing time, Joe then comes home to Kirsten announcing he’s been promoted to Junior Manager. They celebrate, presumably on successive nights, with Johnny Walker, Champagne and Margaritas. She takes him home to her father (Byron Jennings) who owns a nursery. It’s late, she’s been lax in calling. Mr. Arnesen is concerned about his daughter’s citified behavior. “The girl had a fine mother who taught her how to be good.” He’s skeptical of the morality of Joe’s job. The meeting is brief, less than welcoming. The couple had just wed.
Kelli O’Hara (Kirsten), Ella Dane Morgan (Lila)
The marriage progresses and Kirsten has a baby, Lola. Joe comes home increasingly loud, late, and drunk, sometimes lighting into her. Despite protesting alcohol will affect her milk, she reluctantly pours herself glass. Liquor gains leverage. Joe is exiled to Texas, one step short of being fired. Separation is stressful. Raising Lila (Ella Dane Morgan) more or less alone, Kirsten drinks excessively, just managing responsibilities. Lila learns to fend for herself. One night Lila gets tanked up and narrowly averts tragedy. Joe returns home without a job. One spouse decides to get clean. The route is filled with obstacles.
It’s difficult to play drunk on stage with veracity. From initial giggly tipsiness (Kirsten) and acclimated buzz (Joe) to brain-soaked psychosis, O’Hara and D’Arcy James believably inhabit the insidious disease. Seesawing with circumstances, the two characters get clear then fool themselves into imagining they can handle just a taste. A second disaster occurs. (Studies show that 40-60% of alcoholics relapse within 30 days of sobriety, 85% within the first year). Not an expression, word, or move seems ‘applied’, but rather appears to seep out or erupt from inner turmoil. It’s like watching the sinking of the Titanic.
Kelli O’Hara (Kirsten), Brian D’Arcy James (Joe)
Director Michael Greif took on a great challenge. Kirsten’s singing, and dancing while vacuuming, for example, is subtly off balance, careening from manic cheer to despair. Her unexpected downward spiral leaves us breathless. She might be a neighbor, a relative. Joe’s descent and attempted self-rescue is notably personified by uncharacteristic violence, moments of tensile temptation, exhilaration, and horror. Joint binges palpably connect them. Kirsten curls in while Joe strikes out.
Playing an important role in their lives, Mr.Arnesen represents what’s true and good in society, hope. The excellent Byron Jennings makes Kirsten’s father sympathetic, rather than cold. There’s love in his words and actions, even when stern. A breaking heart lays behind dignity and stoicism.
As Lila, Ella Dane Morgan – said to be 7, looks 10 or 11- sings well and acts without self consciousness. The young actress exudes concern and the can-do will of her fictional mom.
Brian D’Arcy James (Joe), Kelli O’Hara (Kirsten)
David Jennings’ portrayal of Jim Hungerford, an Alcoholics Anonymous sponsor, is utterly grounded. When the actor’s in a scene, manifest chaos fades. At one point, during Jennings’ attempt at preventing Joe from going to Kirsten, we almost see him draw a line in the sand. He’s exactly what a sponsor should be.
Brian D’Arcy James handles stringent vocals unlike his usual musical theater material with resonant clarity and skill. The actor wears self-recrimination and anxiety like a bespoke coat. He radiates love and tenderness for Kirsten. Deranged parentheses are alarming. Ability to convey wrenching choices and helplessness is potent.
Trained as a classical and opera singer, Kelli O’Hara is more accustomed to vocal demands of this ilk. Equally at home in musical theater, here she has the opportunity (the second time this year after Metropolitan Opera’s The Hours) to showcase virtuoso ability. O’Hara’s voice is simply gorgeous. Kirsten’s journey from wide-eyed optimist to the wracked shell of a woman under the influence is completely credible.
Greif capitalizes on the chemistry of the leads. Surprisingly, no Intimacy Director is listed. I assume choreographers Sergio Trujillo and Karla Puno Garcia worked with Greif on this. The protagonists’ physical familiarity feels natural. Stage direction is rife with small surprises: A hobo warming his hands over an oil can fire speaks volumes about where the couple talk after their first dinner, a half lit party indicating lifestyle has guests circulating while carrying not just drinks but bottles, correspondence between mother and daughter deftly overlaps, a dissipated seduction is painful to watch.
The multi-talented Craig Lucas has crafted a book that accordions the original play/film without losing a feeling of passing time and inexorable change. His characters are recognizable. Lucas interjects the devastating piece with joy, love, and even playfulness. The piece is raw and honest.
Like Kirsten, Adam Guettel is apparently drawn to danger. Wrangling this piece into music and lyrics must have been like climbing a glass mountain. Vocal narrative is symbiotic with the book, many “songs” emerge conversational, character and situation are always defined. Guettel’s signature, meandering, opera-like music tenaciously holds the story together while moving it forward. The work is utterly compelling.
Orchestrations by Guettel and Jamie Lawrence are marvelous.
Sound Design by Kai Harada is pristine.
Lizzie Clachan (Sets) seamlessly shifts furniture episodically placing us. Transformation into a boat is clever, a greenhouse just right, interiors that inform income just right.
Effective Lighting by Ben Staton ranges from wonderful skies to a musky hotel room.
Dede Ayite’s Costumes reflect era, lass, income, and personality.
A remarkable production – powerful, moving, sobering.
Photos by Ahrov R. Foster
Atlantic Theater Company presents
Days of Wine and Roses
Book by Craig Lucas
Music & Lyrics by Adam Guettel
Directed by Michael Greif
Based on the play by JP Miller and the Warner Brothers film
Produced by special arrangement with Warner Bros.Theater Ventures
Linda Gross Theater, 336 West 20th Street
Through July 16, 2023
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