Lucas’ script remains faithful to Miller’s teleplay (with the excision of Joe’s delirium tremens in the psycho ward or his second hospitalization) and much of the dialogue is actually Miller’s. However, the problem is the score. Guettel’s 18 songs (including four reprises) are often atonal, unmelodic, unrhymed and don’t scan. While this is true of the Tony Award-winning "The Light in the Piazza" that score had such a lush sound that it was automatically romantic and appropriate for its story. Here it is almost as though Guettel is striving for opera but without the orchestral underpinnings to make it so. The lyrics are mostly recitative, abstract and metaphorical. Aside from three songs in which Joe or Kirsten are joined by their seven-year-old daughter Lila (played by Ella Dane Morgan), only the couple sing, with O’Hara given seven solos. The real problem is as Stephen Sondheim said about his musical Do I Hear a Waltz?: these are characters that wouldn’t sing so the only way to solve this is to have made "Days of Wine and Roses" an opera with a great deal of orchestral music. Here the songs do not add anything to the story. Like Marvin Hamlisch’s score for the stage version of "Sweet Smell of Success," Guettel’s music is devoid of atmosphere, period or otherwise, unless this is the fault of the orchestrations by Guettel with additional orchestrations by Jamie Lawrence.
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