Since the Atlantic Theater Company first announced that Brian d’Arcy James and Kelli O’Hara would lead the cast of the new musical “Days of Wine and Roses” based on the book by JP Miller, it was evident why theater goers would rush to buy tickets. Add to that fact, the music and lyrics were written by Adam Guettel, who once again collaborates with Craig Lucas writing the book, and it would speed up your trip to the box office. Audiences attending the production may conclude that their basic instinct would prove to be correct after witnessing two of the most notable musical theater actors at the top of their game give performances of a lifetime. Leaving the theater that thought will linger for some time and then what may dampen that euphoric feeling is the realization that although that might have been two of the best performances you have ever seen, the musical itself was not up to par. That will be a fleeting moment, since you will soon recognize that it was also probably a once in a lifetime event by these two theatrical virtuosos.

“Days of Wine and Roses” is most notable as a film directed by Bake Edwards starring Jack Lemmon and Lee Remick, along with a theme song that became popular by Henry Mancini. The screenplay was written by JP Miller based on his teleplay of the same name on Playhouse 90. The plot deals with the rise and fall of a relationship plagued with co-dependency and addiction. Joe Clay (a dynamic Brian d’Arcy James) is an alcoholic, who falls for teetotaler Kristen Arnesan (a complex Kelli O’Hara) and quickly introduces her to the soothing effects of a couple of chocolate Brandy Alexanders on their first date. It is all a dramatic, heart wrenching downfall from there, as the story unfolds like a photo album of scenes from a disintegrating marriage plagued with addiction. There is no happy ending here.

The cast is remarkable with most of the vocals performed by the two principal characters. Mr. d’Arcy rides a roller coaster of emotions as addict, recovered addict, relapsed addict and recovered addict, all the while never losing the tortured soul of Joe Clay. He makes this character malleable, changing his personality, mood, demeanor, and temperament, but is clearly made of the same human substance. His baritenor is powerful, pure, and satisfying as he soars with confidence and reaches for a falsetto that exudes his vulnerability. Ms. O’Hara easily handles the complexities of her character, as she transforms from demure and astute to broad and brazen, realizing the addiction is stronger than her desire to be rehabilitated. Her vocals are no less than stunning, capturing each note perfectly and filling them with emotions of joy, disillusionment, or despair. She is exquisite. Ella Dane Morgan makes the most of her role as their daughter Lila, contributing her fine vocals to a few duets with the principals. Byron Jennings turns in an honest and noteworthy performance as Arenson.

Director Michael Grief moves the proceedings along at a steady pace but is unable to overcome the pitfalls of script. Adding fourteen musical numbers and four reprises to a storyline reduces the time necessary to develop the depth of these intense characters and situations. Mr. Lucas covers the distinct stages of the disease of alcoholism clearly but fails to investigate alcoholics in a proficient manner. We learn about the infliction, but the cause is not clear. Although you might not leave the theater humming a tune, Mr. Guettel has composed music that soars to glorious heights and falls to depths of anguish and despair. Regardless of the shortcomings, the impact is distressing, and the outcome is devastating, ensuring this is not your typical evening of musical theater. This might not appeal to every theater goer but regardless it is a production not to be missed.