March 10, 2024 • 17 mins
Michael Riedel and Christine Nagy chatted with Kelli O’Hara and Brian d’Arcy James, who were staring in DAYS OF WINE AND ROSES. They explain how their 20-year friendship helped bring their performance to another level. DAYS OF WINE AND ROSES plays at Studio 54 until March 31.
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Episode Transcript
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(00:02):
iHeartRadio Broadway presents Inside Broadway, thepodcast about everything theater. It's where you
hear what happens from the ticket windowto the stage door, with the stars
and creative forces that make it allcome alive. Here are your hosts,
wo Rs Michael Riedle and Light FM'sChristine Nagy. Michael, I had the
(00:24):
opportunity to see an incredible Broadway show, Day of Wine and Roses the Musical,
and I do want to delve intohow it became a musical. The
stars of this show absolutely magnificent,Kelly O'Hara, Brian, Darcy James,
beautiful performances, and they're here withus right now. Welcome Kelly, Brian,
so nice to meet you. Heyguys, how you doing. Good
(00:45):
morning, Good morning, all right, So please tell us about this show
because I think one of the questionsthat popped into my mind as well as
my friends was Days of Wine andRoses the musical. How does that become
a musical? Well, it wasa good idea that Kelly and Adams started
talking about about twenty years ago.I don't want to put words in Kelly's
(01:06):
mouth, but the story is thatit was something that she decided that was
a good idea. Adam thought wasa great idea as well, and the
ball started rolling from there. Yeah, Brian and I had done Sweet,
Small success in two thousand and twoon Broadway and it closed in June,
and by July I was in Sundance, Utah working on the first workshop of
(01:29):
The Light in the Piazza by AdamGettel and Craig Lucas. And I loved
working with Brian, and I wantedto do something else with him, and
I knew the film Days of Wineen Roses based on a teleplay by JP
Miller and made into a film,and Adam was intrigued by the idea.
And you know, things take time. You put it away, you put
it on a shelf. And aboutten or so years ago the first song
(01:53):
was written, and then things startedto be putting together, and then Craig
came on as the book writer,and about five years ago we started workshopping
it and here we are right.It's a great movie, one of my
favorites, directed by Blake Edward,starring Lee Remick and Jack Lemon, and
they play a young couple getting togetherand they're having a great time, but
(02:14):
for all the fun, they're startingto drink and drink and drink, and
they both become alcoholics. And I'mjust curious, Kelly and Brian, what
was it about the movie that touchedeach of you when you saw it for
the first time. And Brian,you can go first and then we'll hear
from you. Kelly, Well,you have these two dynamic, beautiful characters
(02:34):
who are just at all odds tryingto connect with each other. They fall
madly in love, and they haveto jump over this hurdle of their own
addictions, which is harrowing and challengingto say the least. So what drew
me to it was the idea ofjust how resonant these characters could be just
(02:55):
in the struggle to kind of findtheir own journey to health. Whether they
succeed or they fail, you're watchingthem kind of navigate those tricky waters all
the while they're trying to just holdon to this this beautiful love story that
they that they that they have becausethey're just they're just drawn to each other.
(03:16):
And so the combination of those twothings makes for a great dynamics story.
And Kelly, yeah, I wouldjust just say that the movie itself
I watched only as probably a lateteenager, and some of the themes were
probably a little over my head,although the subject matter was very impactful to
me. But I also am ahuge fan of musical drama. I think
(03:40):
when we think about musical theater,we often just put it right in the
musical comedy category. But I'm I'vealways been drawn more to the musical drama
genre. And you know, Ifind singing, communicating through song and beautifully
curated scenes, acting scenes to bejust about as intoxicating as alcohol, just
(04:02):
personally. And so I think theidea of putting it on stage, and
I've been right, has been reallyI'm going to use the word again,
pun intended, you know, veryintoxicating to just be telling this wild love
story of these two very layered anddynamic people and what happens in that journey,
(04:24):
and adding music to that storyline thatis almost sometimes unspeakable for people makes
a lot of sense to me.Yeah, And I think, Kelly,
going back to the music, Isaw the show with my fiance who's a
musician, and again we were reallyreally touched by the choice of music.
You know, that it was jazz, and it somehow was as you said,
(04:46):
kind of able to express what thesecharacters are experiencing. Yeah, I
think the time period really lends itselfto this great sort of sixties fifty sixties
jazz. You know. Adam alsojust has a wealth of of musical richness
inside him at all times. Andthis is this is the score he hears,
(05:09):
this is the the soundtrack of thisstory. This time. What it
feels like to take that first sipand let it lead you into a swirling
evening. You think about jazz clubsin that era, and it couldn't be
more fitting. But at the sametime, it has a very classical under
belly that that adds so much dynamicand richness and and really complication, Like
(05:33):
there's a lot of dissonance. Andhe writes so intentionally that that it's all
just it's swirling together like some sortof perfect pot tornado. Really, I'll
say that tornado and that really isjust Adam's uh, it's that's his aesthetic.
(05:53):
It's just beautiful. We're talking toBrian Darcy, James and Kelly O'Hara,
the stars of the Days of Wineand Rose is now Adam Gettel is
the grandson of the great composer RichardRodgers. I've known Adam a long time
and I'm not telling tales out ofschool here, because he has been open
about his own addiction problems with alcoholand drugs over the years. Brian,
(06:15):
when you were working on this showwith Adam, was he open to you
about the struggles that he had,well, I, first of all,
I'd never want to try to putwords into Adam's mouth about this topic.
But in terms of tackling the issue, yeah, I think everything that his
experience is poured out on the page. And while we didn't necessarily have,
(06:40):
you know, dissertations or lectures onthe subject, in terms of the personal
effects that one might have dealing witha subject like this, more of the
conversation was about what it is thatthese characters were dealing with and what,
you know, just what I saidbefore the hurdles that they have to try
(07:00):
to get over, So it wasmore about about the character's addiction in general,
and how Joe and Kirsten themselves,because it's such an individual battle,
has such individual ramifications for not onlyfor the people but for the people around
them. So it was more aboutabout the character, I'd have to say,
And Kelly, your experience with Adam. You've known them a long time.
(07:25):
I sure have, And I dothink that this is a subject matter
that, because of personal reasons,was one to kind of dive really deeply
into. But also very it lendsa very nuanced, you know, hand
to this piece. Both both Craigand Adam have been very vocal about about
their journeys. We didn't spend timein the room with their journeys. We
(07:46):
spent a lot of time in theroom with Kirston and Joe's journeys, the
characters. And also it was veryimportant to I think both Craig and Adam
to write very authentic but very singularlyhuman story race that aren't to represent the
rest of anyone else's tails. Youknow, it's uh, we can't do
that. We can't speak for thewhole. We can only tell these kind
(08:09):
of get really deep inside to individualpeople. And and also the daughter and
the and and the man who playsmy father and how it affects you need
those you know, characters on theon the proophery there to to tell the
story of what this is. Andyou know, I was thinking last night
though that in telling human stories likethis and those journeys and we have a
(08:30):
passage of time. There is somuch joy in a life, you know,
as well as as these moments ofturmoil. I mean, you can't
have one without the other. Andand that's what they're I think they're expertise.
I'll say, their own personal expertiseon these subject matters has allowed for
(08:50):
It's allowed for them never wasting amoment to add in the parts of life
that have been well lived and andworthy and and and and then may make
the other bits human frailties, humanhuman conditions, not villainous. It's it's
been I think, really beautifully curatedthat well that way. Yeah, we
(09:13):
see it, We see all ofit there. And I feel like there
is so much in this show that'srelatable to so many people. So your
characters are on quite a journey.How is it working with each other?
You're just it just seems like it'sit's such a yeah. Do you guys
have a drink after the show everynight? It's a lot, it's a
(09:33):
valid it's a valid question, Michael, fair enough, right, But they're
going through a lot together on thatstage, and you just have to have
pure trust in each other. Ithink we sure do. But I've talked
so much about it at nauseum thatI'm going to make Brian answer that question.
It's exhilarating. It's exhilarating working withan incredible artist like Kelly and having
(09:58):
twenty years of friendship under the belt, but then also to kind of be
able to, like you say,you know, just fall into the trust
of what that person is going tobe able to do, and then also
what the material is going to allowfor, which is a never ending exploration
(10:18):
of the depths of these characters,which you know is everything you would ask
for as an actor, and whenyou're and when you're doing something so inextricably
linked to another person, if ifyou have you know, complete and utter
awe and respect for them, whichI do for Kelly, then then the
potential for kind of reaching a differentkind of level of performance is is possible.
(10:45):
And I feel like that's kind ofwhat we're what we're what we're aiming
for, and I'll leave it tothe audience to say whether or not we're
achieving it. But it certainly feelslike we've got something that that I've never
experienced on stage, which is justa just a just an incredible relationship off
stage and which then translates to somethingspecial on stage. Before we let you
(11:09):
guys run, I want to askyou just a kind of a technical thing
of that acting. I remember talkingto the great actress and acting teacher Uda
Hagen, who of course was thestar of Who'ser Freder Virginia Woolf and she
played Martha in that play, andthat's a play about alcoholism as well,
And I said, how do youplay an alcoholic? And she said,
you don't do the obvious things.So I'm curious from both of you,
(11:33):
how do you play an alcoholic?Kelly well, yeah, yeah, go
ahead, Kelly, yes please?Well no, I mean listen. I
think Brian and I could sit hereall day and talk about you know,
there's no measurement, there's no sortof like technical list or recipe. I
(11:56):
think that you play a human being. I mean, alcoholics don't know they're
alcoholics if they're in the throes ofbeing an alcoholic. And so you're playing
a human being that's drinking. Youknow, you're you're you're playing moments,
You're not playing a hole. Sofor me, it's kirs I'm without going
too deeply into it, for me, kirsen Is is a mother, a
(12:16):
mother who's got a drink in herhand, she's a she's a daughter who's
disappointing her father with a drink inher hand. She's a wife who loves
her husband fearcely with a drink inher hand. And so, in other
words, I'm just trying to playa human being. There's I don't think
about, you know, the tropesof like slurring, and it's not that
(12:39):
it's just you're trying to just No, I'm just I'm just trying to breathe,
and sometimes the breaths feel differently,that's all. And Brian, something
that Udha said to me, shesaid, you know, most drunks they
don't want people to think they're drunk, so they don't want to slur their
words, so they're trying to hideit. Is that a way you play
that? Yeah, there's I mean, there's all kinds of you can do.
(13:00):
I think that's true. I thinkyou you have to kind of have
a sixth sense about about what itis that you're emitting in terms of your
your your wherewithal, let's put itthat way. So yeah, I think
there's a certain sense of trying tokind of contain something that you know secretly
is probably trying to you know,seep out of you. So that is
(13:26):
an interesting thing to try to tocover up. And you know, that's
that's the secret of acting in generalis is that you know, the subtext
is the thing that is going tokind of have overtones, and if you
can find a way to tap intothat in a similar way, if you
can find a way to kind ofhave the elasticity in the and the kind
of ability to to let your bodykind of take overtake you in a way
(13:52):
that your mind doesn't doesn't want itto, there's something in that, I
think, and it's it's a realchallenge to do slyly and without you know,
kind of putting a big bell onit, saying this person's drunk.
You know. Yeah, And Ithink exactly, I think people. I
think people respond to the to thesoul as opposed to the to the kind
(14:16):
of crude. Well, they're verysubtle. Performances from Kelly O'Hara and Brian
Darcy James in the Days of Wineand Roses at the Roundabout Theater. Hey,
guys, great talking with you andgreat catching up with you guys.
Thanks so much for having us thankyou both so much. And it's running
Michael through March thirty first, soyou want to make sure to get your
(14:37):
tickets now because you definitely want tosee Days of Wine and Roses. Days
of Wine and Roses Broadway dot Comat Studio fifty four. Thanks again,
guys. So Christina, I haven'tseen it yet, but everybody is talking
about the musical version of the movieThe Notebook, and I do believe that
you have seen it, kid.I got a preview performances one of Well
(15:00):
you had told me you heard greatthings about it from Chicago, correct,
right, And I yes, itlived up to everything you said. Ingrid
Michaelson is doing the music for thisand she's absolutely wonderful. So we really
really enjoyed it. And again,you know, I know I always say
this, but really just beautiful performances. You just see these people on stage.
(15:20):
They're giving their heart and soul andthey're just so wonderful. So I
think I think it's going to bea massive hit. Is it as touching
as the movie is? You knowwhen you see James Garner and oh god,
I can't remember the actress what washer name? We went through this
last time when I was about tosee it. Yeah, I would say,
Michael, you just bring a boxof tissues. Absolutely everybody in the
(15:45):
theater was crying, everybody up anddown because there are so many moments in
it that make you cry again,you know, the beauty of love and
time, and it's just it's it'sa really special show. So looking forward
to that opening and again Days ofWine and Roses was absolutely incredible. And
(16:07):
those tickets are available through March thirty, First Days of Wine and Roses Broadway
dot com. So definitely get inthere to see that while we have a
chance, and just a little tiphere, I would suggest you get tickets
now to the revival of The Whiz, which I hear is very very good,
and I think I might. Idid get an invitation to the opening
(16:29):
night of The Whiz, so Imight be going to that. Sounds okay.
When is opening night? Do youknow? Roundabout? When it is?
It's April, in April, inApril sometime. Yet I see everything
going up for Cabaret. They're gettingthe theater ready. Oh yes, I'm
going to the opening night for thattoo, because of course, you know,
I'm writing the brilliant Vanity Fair pieceon the History of Cabs that'll be
coming out online in Vanity Fair intwo weeks, Natalie and Wow, and
(16:53):
then you're going to buy a numberof issues when the actual magazine comes out
to support my Natalie and I aregoing to hit up the newsstands. We're
gonna be all right. So lookforward. So our little tip from us,
because we are the insiders of Broadway, the whiz Yes, Cabaret,
Cabaret and the notebook and days ofwine and roses. That's right. And
(17:17):
in the meantime, we're just gonnaease on down the road. Okay,
see you next time. I'm that'sside Broadway. Bye bye.
iHeartRadio Broadway presents Inside Broadway, thepodcast about everything theater. It's where you
hear what happens from the ticket windowto the stage door, with the stars
and creative forces that make it allcome alive. Here are your hosts,
wo Rs Michael Riedle and Light FM'sChristine Nagy. Michael, I had the
(00:24):
opportunity to see an incredible Broadway show, Day of Wine and Roses the Musical,
and I do want to delve intohow it became a musical. The
stars of this show absolutely magnificent,Kelly O'Hara, Brian, Darcy James,
beautiful performances, and they're here withus right now. Welcome Kelly, Brian,
so nice to meet you. Heyguys, how you doing. Good
(00:45):
morning, Good morning, all right, So please tell us about this show
because I think one of the questionsthat popped into my mind as well as
my friends was Days of Wine andRoses the musical. How does that become
a musical? Well, it wasa good idea that Kelly and Adams started
talking about about twenty years ago.I don't want to put words in Kelly's
(01:06):
mouth, but the story is thatit was something that she decided that was
a good idea. Adam thought wasa great idea as well, and the
ball started rolling from there. Yeah, Brian and I had done Sweet,
Small success in two thousand and twoon Broadway and it closed in June,
and by July I was in Sundance, Utah working on the first workshop of
(01:29):
The Light in the Piazza by AdamGettel and Craig Lucas. And I loved
working with Brian, and I wantedto do something else with him, and
I knew the film Days of Wineen Roses based on a teleplay by JP
Miller and made into a film,and Adam was intrigued by the idea.
And you know, things take time. You put it away, you put
it on a shelf. And aboutten or so years ago the first song
(01:53):
was written, and then things startedto be putting together, and then Craig
came on as the book writer,and about five years ago we started workshopping
it and here we are right.It's a great movie, one of my
favorites, directed by Blake Edward,starring Lee Remick and Jack Lemon, and
they play a young couple getting togetherand they're having a great time, but
(02:14):
for all the fun, they're startingto drink and drink and drink, and
they both become alcoholics. And I'mjust curious, Kelly and Brian, what
was it about the movie that touchedeach of you when you saw it for
the first time. And Brian,you can go first and then we'll hear
from you. Kelly, Well,you have these two dynamic, beautiful characters
(02:34):
who are just at all odds tryingto connect with each other. They fall
madly in love, and they haveto jump over this hurdle of their own
addictions, which is harrowing and challengingto say the least. So what drew
me to it was the idea ofjust how resonant these characters could be just
(02:55):
in the struggle to kind of findtheir own journey to health. Whether they
succeed or they fail, you're watchingthem kind of navigate those tricky waters all
the while they're trying to just holdon to this this beautiful love story that
they that they that they have becausethey're just they're just drawn to each other.
(03:16):
And so the combination of those twothings makes for a great dynamics story.
And Kelly, yeah, I wouldjust just say that the movie itself
I watched only as probably a lateteenager, and some of the themes were
probably a little over my head,although the subject matter was very impactful to
me. But I also am ahuge fan of musical drama. I think
(03:40):
when we think about musical theater,we often just put it right in the
musical comedy category. But I'm I'vealways been drawn more to the musical drama
genre. And you know, Ifind singing, communicating through song and beautifully
curated scenes, acting scenes to bejust about as intoxicating as alcohol, just
(04:02):
personally. And so I think theidea of putting it on stage, and
I've been right, has been reallyI'm going to use the word again,
pun intended, you know, veryintoxicating to just be telling this wild love
story of these two very layered anddynamic people and what happens in that journey,
(04:24):
and adding music to that storyline thatis almost sometimes unspeakable for people makes
a lot of sense to me.Yeah, And I think, Kelly,
going back to the music, Isaw the show with my fiance who's a
musician, and again we were reallyreally touched by the choice of music.
You know, that it was jazz, and it somehow was as you said,
(04:46):
kind of able to express what thesecharacters are experiencing. Yeah, I
think the time period really lends itselfto this great sort of sixties fifty sixties
jazz. You know. Adam alsojust has a wealth of of musical richness
inside him at all times. Andthis is this is the score he hears,
(05:09):
this is the the soundtrack of thisstory. This time. What it
feels like to take that first sipand let it lead you into a swirling
evening. You think about jazz clubsin that era, and it couldn't be
more fitting. But at the sametime, it has a very classical under
belly that that adds so much dynamicand richness and and really complication, Like
(05:33):
there's a lot of dissonance. Andhe writes so intentionally that that it's all
just it's swirling together like some sortof perfect pot tornado. Really, I'll
say that tornado and that really isjust Adam's uh, it's that's his aesthetic.
(05:53):
It's just beautiful. We're talking toBrian Darcy, James and Kelly O'Hara,
the stars of the Days of Wineand Rose is now Adam Gettel is
the grandson of the great composer RichardRodgers. I've known Adam a long time
and I'm not telling tales out ofschool here, because he has been open
about his own addiction problems with alcoholand drugs over the years. Brian,
(06:15):
when you were working on this showwith Adam, was he open to you
about the struggles that he had,well, I, first of all,
I'd never want to try to putwords into Adam's mouth about this topic.
But in terms of tackling the issue, yeah, I think everything that his
experience is poured out on the page. And while we didn't necessarily have,
(06:40):
you know, dissertations or lectures onthe subject, in terms of the personal
effects that one might have dealing witha subject like this, more of the
conversation was about what it is thatthese characters were dealing with and what,
you know, just what I saidbefore the hurdles that they have to try
(07:00):
to get over, So it wasmore about about the character's addiction in general,
and how Joe and Kirsten themselves,because it's such an individual battle,
has such individual ramifications for not onlyfor the people but for the people around
them. So it was more aboutabout the character, I'd have to say,
And Kelly, your experience with Adam. You've known them a long time.
(07:25):
I sure have, And I dothink that this is a subject matter
that, because of personal reasons,was one to kind of dive really deeply
into. But also very it lendsa very nuanced, you know, hand
to this piece. Both both Craigand Adam have been very vocal about about
their journeys. We didn't spend timein the room with their journeys. We
(07:46):
spent a lot of time in theroom with Kirston and Joe's journeys, the
characters. And also it was veryimportant to I think both Craig and Adam
to write very authentic but very singularlyhuman story race that aren't to represent the
rest of anyone else's tails. Youknow, it's uh, we can't do
that. We can't speak for thewhole. We can only tell these kind
(08:09):
of get really deep inside to individualpeople. And and also the daughter and
the and and the man who playsmy father and how it affects you need
those you know, characters on theon the proophery there to to tell the
story of what this is. Andyou know, I was thinking last night
though that in telling human stories likethis and those journeys and we have a
(08:30):
passage of time. There is somuch joy in a life, you know,
as well as as these moments ofturmoil. I mean, you can't
have one without the other. Andand that's what they're I think they're expertise.
I'll say, their own personal expertiseon these subject matters has allowed for
(08:50):
It's allowed for them never wasting amoment to add in the parts of life
that have been well lived and andworthy and and and and then may make
the other bits human frailties, humanhuman conditions, not villainous. It's it's
been I think, really beautifully curatedthat well that way. Yeah, we
(09:13):
see it, We see all ofit there. And I feel like there
is so much in this show that'srelatable to so many people. So your
characters are on quite a journey.How is it working with each other?
You're just it just seems like it'sit's such a yeah. Do you guys
have a drink after the show everynight? It's a lot, it's a
(09:33):
valid it's a valid question, Michael, fair enough, right, But they're
going through a lot together on thatstage, and you just have to have
pure trust in each other. Ithink we sure do. But I've talked
so much about it at nauseum thatI'm going to make Brian answer that question.
It's exhilarating. It's exhilarating working withan incredible artist like Kelly and having
(09:58):
twenty years of friendship under the belt, but then also to kind of be
able to, like you say,you know, just fall into the trust
of what that person is going tobe able to do, and then also
what the material is going to allowfor, which is a never ending exploration
(10:18):
of the depths of these characters,which you know is everything you would ask
for as an actor, and whenyou're and when you're doing something so inextricably
linked to another person, if ifyou have you know, complete and utter
awe and respect for them, whichI do for Kelly, then then the
potential for kind of reaching a differentkind of level of performance is is possible.
(10:45):
And I feel like that's kind ofwhat we're what we're what we're aiming
for, and I'll leave it tothe audience to say whether or not we're
achieving it. But it certainly feelslike we've got something that that I've never
experienced on stage, which is justa just a just an incredible relationship off
stage and which then translates to somethingspecial on stage. Before we let you
(11:09):
guys run, I want to askyou just a kind of a technical thing
of that acting. I remember talkingto the great actress and acting teacher Uda
Hagen, who of course was thestar of Who'ser Freder Virginia Woolf and she
played Martha in that play, andthat's a play about alcoholism as well,
And I said, how do youplay an alcoholic? And she said,
you don't do the obvious things.So I'm curious from both of you,
(11:33):
how do you play an alcoholic?Kelly well, yeah, yeah, go
ahead, Kelly, yes please?Well no, I mean listen. I
think Brian and I could sit hereall day and talk about you know,
there's no measurement, there's no sortof like technical list or recipe. I
(11:56):
think that you play a human being. I mean, alcoholics don't know they're
alcoholics if they're in the throes ofbeing an alcoholic. And so you're playing
a human being that's drinking. Youknow, you're you're you're playing moments,
You're not playing a hole. Sofor me, it's kirs I'm without going
too deeply into it, for me, kirsen Is is a mother, a
(12:16):
mother who's got a drink in herhand, she's a she's a daughter who's
disappointing her father with a drink inher hand. She's a wife who loves
her husband fearcely with a drink inher hand. And so, in other
words, I'm just trying to playa human being. There's I don't think
about, you know, the tropesof like slurring, and it's not that
(12:39):
it's just you're trying to just No, I'm just I'm just trying to breathe,
and sometimes the breaths feel differently,that's all. And Brian, something
that Udha said to me, shesaid, you know, most drunks they
don't want people to think they're drunk, so they don't want to slur their
words, so they're trying to hideit. Is that a way you play
that? Yeah, there's I mean, there's all kinds of you can do.
(13:00):
I think that's true. I thinkyou you have to kind of have
a sixth sense about about what itis that you're emitting in terms of your
your your wherewithal, let's put itthat way. So yeah, I think
there's a certain sense of trying tokind of contain something that you know secretly
is probably trying to you know,seep out of you. So that is
(13:26):
an interesting thing to try to tocover up. And you know, that's
that's the secret of acting in generalis is that you know, the subtext
is the thing that is going tokind of have overtones, and if you
can find a way to tap intothat in a similar way, if you
can find a way to kind ofhave the elasticity in the and the kind
of ability to to let your bodykind of take overtake you in a way
(13:52):
that your mind doesn't doesn't want itto, there's something in that, I
think, and it's it's a realchallenge to do slyly and without you know,
kind of putting a big bell onit, saying this person's drunk.
You know. Yeah, And Ithink exactly, I think people. I
think people respond to the to thesoul as opposed to the to the kind
(14:16):
of crude. Well, they're verysubtle. Performances from Kelly O'Hara and Brian
Darcy James in the Days of Wineand Roses at the Roundabout Theater. Hey,
guys, great talking with you andgreat catching up with you guys.
Thanks so much for having us thankyou both so much. And it's running
Michael through March thirty first, soyou want to make sure to get your
(14:37):
tickets now because you definitely want tosee Days of Wine and Roses. Days
of Wine and Roses Broadway dot Comat Studio fifty four. Thanks again,
guys. So Christina, I haven'tseen it yet, but everybody is talking
about the musical version of the movieThe Notebook, and I do believe that
you have seen it, kid.I got a preview performances one of Well
(15:00):
you had told me you heard greatthings about it from Chicago, correct,
right, And I yes, itlived up to everything you said. Ingrid
Michaelson is doing the music for thisand she's absolutely wonderful. So we really
really enjoyed it. And again,you know, I know I always say
this, but really just beautiful performances. You just see these people on stage.
(15:20):
They're giving their heart and soul andthey're just so wonderful. So I
think I think it's going to bea massive hit. Is it as touching
as the movie is? You knowwhen you see James Garner and oh god,
I can't remember the actress what washer name? We went through this
last time when I was about tosee it. Yeah, I would say,
Michael, you just bring a boxof tissues. Absolutely everybody in the
(15:45):
theater was crying, everybody up anddown because there are so many moments in
it that make you cry again,you know, the beauty of love and
time, and it's just it's it'sa really special show. So looking forward
to that opening and again Days ofWine and Roses was absolutely incredible. And
(16:07):
those tickets are available through March thirty, First Days of Wine and Roses Broadway
dot com. So definitely get inthere to see that while we have a
chance, and just a little tiphere, I would suggest you get tickets
now to the revival of The Whiz, which I hear is very very good,
and I think I might. Idid get an invitation to the opening
(16:29):
night of The Whiz, so Imight be going to that. Sounds okay.
When is opening night? Do youknow? Roundabout? When it is?
It's April, in April, inApril sometime. Yet I see everything
going up for Cabaret. They're gettingthe theater ready. Oh yes, I'm
going to the opening night for thattoo, because of course, you know,
I'm writing the brilliant Vanity Fair pieceon the History of Cabs that'll be
coming out online in Vanity Fair intwo weeks, Natalie and Wow, and
(16:53):
then you're going to buy a numberof issues when the actual magazine comes out
to support my Natalie and I aregoing to hit up the newsstands. We're
gonna be all right. So lookforward. So our little tip from us,
because we are the insiders of Broadway, the whiz Yes, Cabaret,
Cabaret and the notebook and days ofwine and roses. That's right. And
(17:17):
in the meantime, we're just gonnaease on down the road. Okay,
see you next time. I'm that'sside Broadway. Bye bye.
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