Drinking in the Big City
The story opens at a company schmooze fest for clients in 1950 New York City, where public relations man Joe Clay (Brian D‘Arcy James) is in his element. Joe has a gift for making people feel completely at ease thanks to his outgoing manner, supply of endless jokes, and a constant drink in his hand. Though to his surprise, he finds co-worker Kirsten Arnesen (Kelli O’Hara) not interested in this well-oiled approach.
While initially put off by Joe’s overbearing manner, Kirsten still finds herself intrigued by him. This interest is completely mutual as each sees in the other a sort of kindred spirit. Both are hungry for real companionship, yet each puts up walls so others can’t get close.
Joe, who was previously stationed in Korea, uses fast talk and drink as his shield, while Kirsten, a lifelong teetotaler who was raised in a rural area, has a no-nonsense approach to life and is wary of losing self-control. Her biggest obsession has been a love for chocolate.
It’s not long before the two begin dating and, after Joe introduces Kirsten to a Brandy Alexander, she becomes a quite willing drinking companion. The pair’s relationship is equal parts getting to know one another and getting happily drunk. This pattern continues as they become ever closer, get married, and have a child.
As time goes on Joe, unhappy with his unofficial job requirements that include providing female companionship to visiting clients, finds himself out drinking with his business associates more and more often.
His increasing absence gives the now stay-at-home Kirsten an excuse to turn to bottle in order to get through the day. Joe and Kirsten’s love for alcohol slowly change from an enjoyable part of their lives to something necessary to the only thing that makes them see each other as equals.
Alcoholism may figure prominently in “Days of Wine and Roses,” but what makes it all worth watching is the powerful love between Joe and Kirsten. Their attraction is so strong that neither can imagine life without the other. Even though both half-heartedly try to do just that at times, as their addiction threatens to destroy everything they have.
One can literally see Joe’s anguish when he cries out how he can’t live without his wife, or the pain Kirsten feels when she begs Joe to forget her, even though it’s obvious she still loves him.
To its credit, the show’s exploration of alcohol addiction, evidence of which reduces Joe and Kirsten to little more than objects of pity, is handled with very little sermonizing. Matters unfold instead as a natural part of the story, rather than through lengthy monologues.
Where the Show Could Improve
This endorsement is not to say the show is perfect. Some early sequences feel rushed, and there is not always enough indication of the passage of time between scenes. Several sections in the beginning would have worked far better if the characters would simply speak the dialogue rather than sing it.
Yet O‘Hara and D’Arcy James are prefect in their roles. Their performances, helped by director Michael Greif’s guidance, take what could easily have been stock characters and bring them vibrantly to life. It’s a testament to all involved that we care about Joe and Kirsten almost from the moment we meet them until the very end.
Special mention must also go to Bryon Jennings as Kirsten’s father, who is able to convey volumes about how he feels with only a few quiet words or gestures.
The score is enjoyable, if not all that memorable. The standout number is “Evanesce.” This piece follows Joe and Kirsten as their relationship grows, along with their supply of liquor bottles. This scene also works thanks to the excellent set by Lizzie Clachan, which nicely calls forth a 1950s’ feel.
A show that gets better as it goes along, “Days of Wine and Roses” follows two people who come face to face with their dependencies. Also clear is that there’s no shame in seeking help—particularly when there’s someone waiting for you at the end.
