Laura
Collins-Hughes

January 28, 2024

What’s astonishing about this show, though — aside from the central performances, which are superb, and Guettel’s anxious, spiky, sumptuous score, which grabs hold of us and doesn’t let go — is the way its devastating chic snuggles right up to catastrophic self-destruction.

Brittani
Samuel

January 29, 2024

Though the material hinges on a turbulent relationship and a harmful disease, fans of Broadway A-listers will delight in watching O’Hara and James throw themselves into the heavy material for nearly two hours.

Greg
Evans

January 28, 2024

Chalk it up to theatrical arts of the first order – acting, direction, book and Guettel’s mesmerizing operatic bebop – that we’re soon hand-in-shaky hand with characters who haven’t a clue how to break the cycle of whiskey-ice-repeat. We’re transported back in time by Kirstin’s lovely sleeveless, A-line cocktail dress (Dede Ayite designed the costumes, showing, among other things, how you really do Barbie), a delightful look that quickly enough gives way to ratty old Baby Jane Hudson bathrobes. And watch Joe morph from Man In a Gray Flannel Suit to rumpled slob in yesterday’s slept-ins, all inhabiting a midcentury modern world, perfectly designed by Lizzie Clachan, that seems by turns airy and claustrophobic.

Matt
Windman

January 28, 2024

Nineteen years after winning a Tony Award for the enchanting and sweeping score of “The Light in the Piazza,” Adam Guettel — the extremely gifted and adventurous composer and lyricist who also happens to be the grandson of legendary composer Richard Rodgers and son of Mary Rodgers (composer of “Once Upon a Mattress”) — has finally returned to Broadway with “Days of Wine and Roses,” another musically literate and individualized work that is far more acidic in sound and style.

Robert
Hofler

January 28, 2024

The only major criticism to level at “Days of Wine and Roses” is that it took Guettel so long to write his third musical, which can easily take its place as one of the few great musicals of this century.

New York Daily News

Chris
Jones

January 28, 2024

Adam
Feldman

January 28, 2024

Days of Wine and Roses reunites composer Adam Guettel with playwright Craig Lucas; as in their previous collaboration, 2005’s The Light in the Piazza, the result is ambitious, artful and musically sophisticated.

Juan A.
Ramirez

January 28, 2024

Transferring to Broadway after a well-received premiere at the Atlantic last summer, Kelli O’Hara and Brian d’Arcy James give astonishing voice to two lovers drowning in alcoholism. The subject matter is almost corrosively downbeat but, with its two leads at the top of their game, the one-act musical becomes a cathartic, deeply felt tonic.

David
Gordon

January 28, 2024

Depressing and harrowing as it is, it’s not the kind of show we often get around these parts. Its success would signal that there is indeed still an audience for weird art amid the singing lions and flying witches. That would be the most hopeful takeaway of all.

Sara
Holdren

January 28, 2024

So why, with such a radiant double center, does Days of Wine and Roses feel constrained, a little narrow and flat? Despite all that vocal brilliance—and the leads’ real chemistry—the show evokes a specific kind of quietly disheartened sigh. It’s the sound of great talents put in the service of material that will almost expand to accommodate them, but not quite, and it’s a very common sound on Broadway.

New York Theatre Guide

Gillian
Russo

January 28, 2024

Since its Off-Broadway premiere in 2023, the Days of Wine and Roses musical, featuring largely the same company, has aged like, well, wine.