![]() ![]() Foster)Īt this juncture, “Days of Wine and Roses” has two beautiful performances from mature actors (Byron Jennings plays the father), whose exquisite instruments fill the tiny Atlantic theater space. (L-R) Kelli O’Hara, Bill English and Sharon Catherine Brown. There is blame to be attached in that the husband, Joe, played by Jack Lemmon, introduces booze to his hitherto nondrinking wife, Kirsten, played by Lee Remick, who sups a sweet cocktail one fateful night and finds she surely enjoys the sensation, even as her remote, stern father watches from afar in dread for something he maybe caused. But this was 1962 and it didn’t fully speak to today’s language of addiction. ![]() You might think of this piece, which I reviewed when it was just a play at the Cleveland Playhouse in the 1990s, as the somber underbelly of “Mad Men,” a what happens when the go-go music stops. So the first staged performance at the Atlantic Theatre of his much anticipated score to the new stage adaptation of the stunningly artful 1962 Blake Edwards film, “Days of Wine and Roses,” as adapted from JP Miller’s 1958 teleplay of the same name, would be an occasion for something chilled and celebratory were this not a story of the destructive powers of alcoholism and its unique capacity to first animate, then preserve and finally torpedo, an upper-middle-class marriage. I’ve long been inescapably in the tank for Guettel I listen to his score for “The Light in the Piazza,” on an almost weekly basis, finding something new every time. ![]()
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