Days of Wine and Roses

A classic that originated in the golden age of TV drama, J.P. Miller's "Days of Wine and Roses" offers a harrowing portrait of the ravages of alcoholism, illuminating the ways in which the disease can have as toxic an effect on a loving relationship as it does on the bodies, minds, and spirits of the afflicted individuals. Originally broadcast live on "Playhouse 90" in 1958, the piece is driven by its uncompromisingly frank view of the indignities and helplessness that can engulf alcoholics

Unlike Blake Edwards' 1962 film version, Miller's seldom-produced stage adaptation of his teleplay deftly avoids sentimentality in its depiction of an initially promising but doomed marriage. There's no syrupy Henry Mancini choral tune here to soften the harsh edges. Director Rebecca Hayes' bare-bones production is blessed with two shattering lead performances, eliciting raw emotional power from this resonant blend of romantic tragedy and social-issue play.

The action is set between 1958 and 1969 in Manhattan and on Long Island. Hayes' interpretation strives for a gritty realism. Unfortunately, Leticia Gonzalez's unrelentingly dim lighting teeters on the brink of invisibility at times, and drab furniture pieces and props substituting for a set constitute a nondescript milieu.

So the effectiveness of the production must rest squarely on the insights and skill of the actors, who thankfully prove more than up to the challenge. As Joe Clay, an aggressive public-relations man who romantically pursues a secretary named Kirsten (Tara Battani), Nathan Bell initially conveys a joviality and self-confidence that provide an effective contrast to the lumbering loser he becomes following his lapse into addiction. Similarly, Kirsten's girly flirtation in the company of the man she eventually marries is vastly dissimilar to the nasty demeanor she displays when she's desperate for a drink, following the couple's hellish journey into the dark valley of codependence.

Steve Gustafson supplies a voice of calm reason in a creditable turn as an advisor from Alcoholics Anonymous, and Phil Crowley excels as Kirsten's fed-up father. Michael Dye and Angela Stewart-Starks efficiently play several small roles. This masterfully nuanced production leaves one with a lingering sense of profound melancholy.

Presented by Rebecca Hayes at the Lounge Theatre, 6201 Santa Monica Blvd., L.A. Jan. 14–Feb. 19. Fri. and Sat., 8 p.m.; Sun., 2:30 p.m. (323) 960-7862 or www.plays411.com.