Although somewhat flawed, Days of Wine and Roses draws from the same musical language that made Piazza so instantly distinctive, and it features a specificity that I noticed in Adam Guettel’s earlier breakthrough work, Floyd Collins.
It’s the legendary Jeanne Eagels in the spotlight, which is exactly the right term. From our first glimpse of her fabulous face, she seems almost lit from within.
Terror and breakdown is hinted at strongly, almost blatantly, but the characters never seem to move an inch past the comfort zone.
Tell us: Filth or dementia?
Hasten thee to feed another quarter of conversation for The Talk of the Town!
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