Jon Bernthals Broadway play turns classic NY…
Theater review
DOG DAY AFTERNOON
2 hours,quarter-hour, with one intermission. At the August Wilson Theatre, 245 W. 52nd St.
There’s been a theft!
A new Broadway play starring Jon Bernthal and Ebon Moss-Bachrach has stolen the title of the classic New York movie “Dog Day Afternoon” and slapped it on a midseason-replacement sitcom.
You definitely acknowledge the plot, no-nonsense characters and Brooklyn bank setting from the 1975 Best Picture-nominated heist movie with Al Pacino.
But the bizarre show that opened Monday evening at the August Wilson Theatre has contorted it into one thing altogether unfamiliar: a stress-free sequence of drama-deflating punch strains that add up to little more than a barstool yarn.
For a play about a real-life 1972 bank theft and hostage state of affairs, the stakes are curiously medium, as if every part will magically return to regular on next week’s episode.
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Yet once you settle for that this “Dog Day” is a very different breed — a frivolous comedy, principally — it’s just watchable enough.
Jon Bernthal performs Sonny in “Dog Day Afternoon” on Broadway. Matthew Murphy
Bernthal, while not as steely as Pacino, places his own charismatic spin on Sonny, the determined man who traps 9 staff inside the Chase Manhattan Bank in Gravesend to secure $2,500 for his lover’s sex-change operation.
Unlike threatening and shaky Pacino, Bernthal is easy, assured and charming. He virtually flirts his manner inside the business at closing time. Driving his nice-guy image home, the “Walking Dead” star is dressed less like Paci and more like Chachi.
He’s strong. And some of the script’s extraneous jokes about doughnuts, Mister Rogers or Bellevue land. I laughed a few occasions.
However, in the wake of pharma-CEO killer Luigi Mangione, it’s placing that a play in which weapon-wielding criminals grow to be flamboyant local people heroes settles on irrelevant silliness as its one and only tone. Fifty-one years later, the movie still hits a lot more durable.
Sonny and Sal (Ebon Moss-Bachrach, at proper in beige) attempt to rob a Chase Manhattan Bank. Matthew Murphy and Evan Zimmerman
The objective was always to depart. Playwright Stephen Adly Guirgis has said his adaptation wouldn’t only borrow from the film, but also incorporate more of the precise event it’s based on. Known for his quirky, larger-than-life Big Apple creations, he needed to add some humor. Director Sidney Lumet’s movie contains a riot, but it isn’t precisely a snort riot.
Well, Guirgis beefed “Dog Day” up, all proper, in a slightly self-indulgent manner that comes principally at the expense of energy (there’s none) and construction (flatter than North Dakota).
The housebreaking is bungled from the start — and not just by the criminals. When Sonny, Sal (Moss-Bachrach) and Ray Ray (Christopher Sears) maintain up the bank at gunpoint, the workers continue to chat and toss off zingers, only louder. They are barely alarmed by doable death.
Theirs is the type of cute terror discovered in the tune “Coffee Break” from “How To Succeed in Business Without Really Trying,” when the 9-to-5ers can’t get their afternoon java.
Like in that wacky office musical, the ladies are character varieties, not people.
Jessica Hecht performs Colleen, the bank’s head teller. Matthew Murphy and Evan Zimmerman
Their stalwart chief is Colleen (Jessica Hecht), the strict head teller who sees defending her women as her obligation. While Hecht is always a welcome and formidable presence, even she will’t hoist up her cinder-block cashier.
The banky bunch turns into fast associates with their captors. Everybody’s comfortable. It could also be 95 levels exterior on this sweltering day, but in right here it’s cool and relaxed.
Take when Sal, a largely unnoticeable Moss-Bachrach, hits the supervisor, Mr. Butterman (Michael Kostroff), on the top with the back of his shotgun. The fight is so feathery comfortable and clearly faux, you get the sense they’re attempting to spare the fragile viewers any trauma.
We mustn’t let their pulses race!
“Dog Day Afternoon” the play doesn’t maintain a candle to the film. Matthew Murphy and Evan Zimmerman
Everywhere you look, edges are being sanded down.
Guirgis bulks up a dumb squabble for dominance between street-smart NYPD Detective Fucco (John Ortiz) and interloper FBI Agent Sheldon (Spencer Garrett). The author selected the title Fucco so his rival can keep calling him “F–ko.” Hardy har har.
And I used to be let down by Esteban Andres Cruz’s efficiency as Leon, Sonny’s “wife” who needs to be the emotional middle of the story. That the character is heightened and unmoving isn’t all the actor’s fault. The speech, as written, has a eliminated stand-up-routine high quality. And director Rupert Goold hasn’t staged the scene vulnerably enough.
How outstanding that a half-century-old film treats a trans character with more sensitivity and nuance than a brand-new play.
Esteban Andres Cruz performs Leon, Sonny’s “wife.” Matthew Murphy and Evan Zimmerman
Even the main gimmick is half-assed. At the end of Act 1, ticket consumers grow to be the mob exterior the bank. As working-class New Yorkers start siding with Sonny’s us-against-the-man message instead of law and order, Bernthal eggs on the viewers to chant “Attica! Attica!,” in reference to the 1971 upstate prison rebellion.
Some do, some don’t. Many giggle. The buildup to the chaos is weak, and the unnatural, pressured impact resembles an previous sitcom staple: the “Applause” signal.
Britain’s Goold, who’s directed a lot of canines, either doesn’t know how to create pressure, or just doesn’t need to. His tendency, as it was in the PTSD-bad musical “Tammy Faye,” is to amp up American characters into unbelievable “It’s a Small World After All” cartoons. Sure, they are saying humorous strains, but we don’t care about them. They don’t have interaction us.
The ending, so chilling and tragic on-screen, elicits nary a gasp right here.
What’s astonishing is that the people in charge keep permitting Goold to maintain up Broadway theaters.
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