There are moments in Good Evening, and Good Luck, the brand new play by George Clooney and Grant Heslov opening on Broadway tonight on the Winter Backyard Theatre and starring Clooney as pioneering TV journalist Edward R. Murrow, when the anti-authoritarian passions of all three males are made very clear. Anti-McCarthyism in Murrow’s case, anti-Trumpism for Clooney and, one presumes, Heslow. Sadly, most of the time, that readability comes by means of speechifying, minor-key tirades and copious use of ’50s-era TV clips that make plain the all-too-obvious parallels between then and now.
We all know when, in historical past and within the play, the inevitable “Have you ever no sense of decency?” will arrive to place Senator Joseph McCarthy out of America’s distress. When, the play not so subtly wonders, will Donald Trump face the identical path?
Making clear-as-day the similarities between these way back days of McCarthyite propaganda and at the moment’s Trumpian “various information,” to not point out a information media that’s typically both too cowed or too overwhelmed to name a lie a lie, Good Evening, and Good Luck is simply too realizing or too winking by half to appear like something apart from somewhat uninspired agitprop.
Based mostly very intently on the 2005 movie of the identical title, additionally written by Clooney and Heslov, Good Evening, and Good Luck definitely doesn’t lack perspective or conviction, however neither of these issues can do a lot with an excessively acquainted story, a scarcity of subtlety and an odd tone of understatement that extends to all the pieces from the writing to Clooney’s efficiency. The actor appears to be combating towards the pure charisma that has performed such an essential position in energizing his movie and TV performances.
Clooney one way or the other appears smaller, extra contained than he does even on smaller, extra contained screens. His performing chops aren’t in query – he’s by no means something lower than strong in that division, and identical goes for his exhibiting right here – however one has to query why Clooney (and his director, David Cromer) would select to make his Broadway debut in a manufacturing that, justifiably if disappointingly, makes a lot use of enormous video panels that repeatedly present the actor-as-Murrow in close-up black-and-white and talking the stilted, ’50s-era newsman fashion that offers Good Evening, And Good Luck a been-there-done-that temper.
Examine, for instance, the riveting and energetic efficiency being given by Jake Gyllenhaal down the highway in Broadway’s modern-dress Othello, or Sarah Snook’s superb efficiency as Oscar Wilde in The Image Of Dorian Grey, a manufacturing the place the brilliantly colourful and playful, state-of-the-art screens and projections can’t assist however make Good Evening‘s forays onto Ivo van Hove turf appear downright uninspired.
The excellent news right here is that the massive solid – Clooney most undoubtedly included – supply up rock-solid performances though they, like Clooney’s outsize appeal, too typically get swallowed up in Scott Pask’s massive, busy TV studio set design. Pask, like video/projection designer David Bengali and director Cromer are amongst Broadway’s elite, most reliable inventive groups, however even they appear undone by a plodding play that actually comes alive in suits and spurts. Among the many highlights: Murrow’s battles with William F. Paley (Paul Gross), just a few lighter moments between the secretly married working couple Shirley and Joe Wershba (Ilana Glazer and Carter Hudson), and, most particularly, Clooney’s taken-from-history speeches that Murrow delivered years after the Military-McCarthy hearings, and that bookend this play.
Simply earlier than that last bookend, Good Evening,and Good Luck deploys that massive video display for one modernizing contact, with a rapid-fire, chronological video montage of clips from Milton Berle, I Love Lucy, Cronkite’s tearful announcement of the JFK assassination and proper as much as at the moment’s conflation of leisure and journalism a la Tucker Carlson. The montage ends on a last clip that pulls gasps from the viewers, so current and disturbing is it. No spoilers besides to say it is without doubt one of the extra surprising and well-known photographs of that Tesla man.
And but there’s nonetheless nothing within the well-meaning Good Evening, and Good Luck (that, in fact, was Murrow’s nightly sign-off phrase) that delivers its messages with extra precision and influence than that 71-year-old little bit of scratchy footage of legal professional Joseph Welch sending McCarthy off to the dustbin with “You could have accomplished sufficient. Have you ever no sense of decency?” The play lets previous Welch, up there so familiarly on display, do the heavy lifting.
Title: Good Evening, and Good Luck
Venue: Broadway’s Winter Backyard Theatre
Director: David Cromer
Written by: George Clooney and Grant Heslov
Forged: George Clooney, Mac Brandt, Will Dagger, Christopher Denham, Glenn Fleshler, Ilana Glazer, Clark Gregg, Paul Gross, Georgia Heers, Carter Hudson, Fran Kranz, Jennifer Morris, Michael Nathanson, Andrew Polk, Aaron Roman Weiner with R. Ward Duffy, Joe Forbrich, Imani Rousselle, Greg Stuhr, JD Taylor, Sophia Tzougros
Operating time: 1 hr 40 min (no intermission)
