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Among the nominees are “The Notebook,” “The Outsiders” and “Days of Wine and Roses,” based on three movies: a 2004 Nicholas Sparks romance, a 1983 coming-of-age crime drama directed by Francis Ford Coppola and a 1962 Blake Edwards melodrama about alcoholism.

Craig Lucas, an award-winning playwright drawn to musicals, took on the challenge of adapting with composer and lyricist Adam Guettel “Days of Wine and Roses,” which I saw last year off-Broadway at the Atlantic Theatre Company’s Linda Gross Theater.

As New York magazine theater critic Sara Holdren recently wrote of new musical “Days of Wine and Roses,” “If the show — if any show — strikes someone, somewhere, for some reason, to the heart, well, so shines a good deed in a weary world,” and she’s right.

As origin stories go, the transformation of “Days of Wine and Roses” from a movie into a musical is a straight shot, with a twist.

“Days of Wine and Roses” started as a teleplay in 1958, by the writer JP Miller, who was interested in dramatizing Alcoholics Anonymous meetings.