#1
Posted: 3/22/13 at 10:58pm
This production of The Big Knife could aptly be renamed The Sword of Damocles as that is how it looms over this Broadway season. They have combined the first two acts before the intermission and save the third for after. The first act was laborious and sent me into an absolutely comatose state. Act Two picked up a bit, but nothing was going to save this show by that point.
Perhaps Roundabout had no idea that we were all going to be treated to Bartlett's magnificent vision of Golden Boy when they selected this play, but being reminded how brilliant Odets can be and then to be faced with the reality of what Odets at Roundabout is, is staggering and depressing.
Doug Hughes must bear the brunt of the blame. His direction is so stagnant that one can barely pay attention to the dialogue. The play is a one set ordeal and we are forced to watch Bobby Cannavale sit on a sofa for two and a half hours talking with the other characters in nearby chairs. The set is massive, and yet the action felt like it was staged for a black box theater.
I think Cannavale is a splendid actor, but he seemed to be sleeping through act one. (Everyone did, save for Richard Kind who was playing the other extreme in what one can only assume was an attempt to wake the audience and his cast members up.) Everyone picked up energy in act two, but it was too late. Even the gorgeous Marin Ireland didn't register like she normally does.
The casting is not the problem though. Cannavale, Ireland, Zien, Kind, Reg Rogers are all strong actors who could ably play their roles. They needed a different director at the helm though to get them on track.
There were walkouts galore at intermission, including a few of my friends. How could the American Airlines serve up anything MORE boring than The Philanthropist and Road to Mecca??? It truly boggles the mind, but Roundabout has done it again.
Perhaps Roundabout had no idea that we were all going to be treated to Bartlett's magnificent vision of Golden Boy when they selected this play, but being reminded how brilliant Odets can be and then to be faced with the reality of what Odets at Roundabout is, is staggering and depressing.
Doug Hughes must bear the brunt of the blame. His direction is so stagnant that one can barely pay attention to the dialogue. The play is a one set ordeal and we are forced to watch Bobby Cannavale sit on a sofa for two and a half hours talking with the other characters in nearby chairs. The set is massive, and yet the action felt like it was staged for a black box theater.
I think Cannavale is a splendid actor, but he seemed to be sleeping through act one. (Everyone did, save for Richard Kind who was playing the other extreme in what one can only assume was an attempt to wake the audience and his cast members up.) Everyone picked up energy in act two, but it was too late. Even the gorgeous Marin Ireland didn't register like she normally does.
The casting is not the problem though. Cannavale, Ireland, Zien, Kind, Reg Rogers are all strong actors who could ably play their roles. They needed a different director at the helm though to get them on track.
There were walkouts galore at intermission, including a few of my friends. How could the American Airlines serve up anything MORE boring than The Philanthropist and Road to Mecca??? It truly boggles the mind, but Roundabout has done it again.
Marie: Don't be in such a hurry about that pretty little chippy in Frisco.
Tony: Eh, she's a no chip!
