George Clooney’s Broadway Debut: A Drowsy Dive into History
Let’s dive into the curious case of George Clooney’s Broadway debut, shall we? “Good Night, and Good Luck,” now gracing the Winter Garden Theatre, feels more like a history lesson in a snooze-fest than a riveting stage performance. Clooney, both co-writer and star, takes center stage as the legendary Edward R. Murrow, the CBS newsman who famously went toe-to-toe with the red-baiting Senator Joseph McCarthy during the 1950s. One would expect a theatrical spectacle that echoes the urgency of history, yet the result is about as exciting as watching paint dry on a vintage office wall.
The play runs a lengthy hour and 45 minutes without a break, leaving audiences with nothing more than a lingering sense of, “Was that it?” The production boasts a lavish set designed to evoke the golden age of television, complete with retro suits that may inspire a few fashion statements but lack the dramatic punch needed to engage the audience. Clooney’s portrayal of Murrow is undoubtedly earnest, but the writing does him no favors. His performance is akin to a well-polished pebble—smooth, yes, but devoid of the jagged edges that make for compelling storytelling. Instead of a vibrant character, we’re left with a bland version of the newsman, spouting his iconic sign-off, “Good night, and good luck,” ad nauseam.
Furthermore, the play suffers from a severe case of historical nostalgia, relying heavily on archival footage of McCarthy’s hearings instead of having a living actor portray the senator. Watching grainy clips from the past feels like a trip to the museum rather than a gripping theatrical experience. The ensemble cast, which includes a talented jazz band, feels more like window dressing in a cocktail lounge than a bustling newsroom steeped in tension. The play’s direction by David Cromer fails to build any significant momentum, leaving viewers with a feeling of detached observation rather than investment in the unfolding drama.
As the narrative unfolds, we see glimpses of potential with characters like producers Shirley and Joe Wershba, but their storyline is so underdeveloped that one could easily forget their existence. The final moments of the play awkwardly shift to lecture mode, bombarding the audience with clips showcasing the evolution of TV news, which feels about as necessary as a third helping of mashed potatoes at Thanksgiving—overwhelming and entirely unneeded.
In a nutshell, Clooney’s first foray onto Broadway may be a heartfelt passion project, but it ultimately leaves audiences longing for a richer, more dynamic experience. If only the production could have matched the gravitas of its historical subject matter, we might have witnessed a true theatrical triumph instead of a sleepy stroll down memory lane. Class dismissed, but let’s hope Clooney’s next act doesn’t leave us yawning.
Sources: Celebrity Storm and New York Post, Variety, The Hollywood Reporter
Attribution: Creative Commons Licensed
