NEW YORK — Early in "Breakfast at Tiffany's," the new Richard Greenberg adaptation of the 1958
Miss Golightly has done anything but go lightly, really, careening through 1943
Perhaps Fred's interest is enormous. Perchance it's brotherly or merely aesthetic. But especially as Holly lies there vulnerable, there has to be interest. It's hard to imagine Capote could ever have imagined Fred as neutral and blank and, well, dull as he seems in that notable moment in director Sean Mathias' production.
The central problem with this disappointing show has nothing to do with the ghost of
Clarke, who is best known for her work on
The other problem with Mathias' show, which features a set designed by Derek McLane, is that it misses the exuberance of the "Breakfast at Tiffany's" novella, a book with a dark soul, sure, but also a satirical celebration of aspiration that was very good for at least one jeweler's image. If the once-ordinary Holly could reinvent herself entirely on the streets of New York, and have a bartender named Joe (played here by
Capote understood the dangers of trying to start from scratch — the past will come out, and all that — but he also knew its appeal. And so, of course, did Hepburn. Greenberg tries to underscore this crucial ambivalence in his text, and he tries to set out a fatalistic celebration of courage, but the invasive mores of this production keep toppling all that. The palette for this show is dark and brooding, closer to something one might associate with
The further one gets from the central relationship, the stronger the show. Murphy Guyer, who plays Doc, is sincere and moving. And the once-again-healthy Wendt is, as ever, just a tad more complex than you'd expect. And a ginger-colored cat named Vito Vincent steals a couple of scenes that would not overextend any self-respecting theatrical feline.
"Breakfast at Tiffany's" plays on Broadway at the Cort Theatre, 138 W. 48th St.; 800-432-7250 or telecharge.com