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Examining the Stage Adaptation of “Good Night, and Good Luck”
Recent events in the theater world raise an intriguing question: Did President Joe Biden and Dr. Jill Biden choose to attend the March 20 opening of “Othello” featuring Denzel Washington and Jake Gyllenhaal to avoid the perception that their absence from the Thursday opening of “Good Night, and Good Luck” would be interpreted as a slight against George Clooney? Clooney, who authored an influential New York Times essay, was a significant factor in the political landscape that impacted Biden’s 2024 campaign.
Reflecting on this, one might wonder if the line “I feel like I went to sleep three years ago, and somebody hijacked … as if all reasonable people took a plane to Europe and left us behind,” would exist in Clooney and Grant Heslov’s adaptation of the play had Kamala Harris won the recent election. This line, which generated considerable audience reaction, is absent from Clooney and Heslov’s original 2005 screenplay, suggesting a deliberate choice was made for the theatrical version. The play is only slightly longer than the film, running just seven additional minutes.
The story of “Good Night, and Good Luck” revolves around the efforts of CBS icon Edward R. Murrow to combat the intense anti-communist fervor propagated by Senator Joe McCarthy in 1954. While the play largely follows the screenplay closely, there are distinctions worth noting. For instance, a commercial for Kent cigarettes, highlighting the pervasive smoking culture of the era, is included in the film but not on stage. Furthermore, during Murrow’s television show, he interviews a more openly honest Liberace, diverging from the more circumspect depiction in the movie. A significant addition to the stage version is a video fragment featuring Elon Musk, which evoked a visceral reaction from the audience, creating a moment that will linger in memory.
One of the key aspects that makes the stage adaptation compelling is George Clooney’s portrayal of Murrow. While David Strathairn’s performance in the film was iconic, Clooney brings a spectral quality to his character that is hauntingly effective. The synergy of Heather Gilbert’s atmospheric lighting and Clooney’s uncredited makeup subtly transforms him into a figure resembling the legendary newsman, albeit with a gaunter appearance.
This theater season has witnessed an excess of flamboyant performances, yet Clooney’s portrayal stands out for its restrained authenticity. Under David Cromer’s direction, the ensemble cast of over twenty actors is skillfully managed, allowing spectators to absorb a historical moment within CBS studios during a politically charged era reminiscent of today’s tumultuous landscape. While the original film emerged during the turmoil of the George W. Bush administration, the current adaptation resonates with contemporary issues as it draws parallels between past and present, particularly concerning the civil liberties of individuals labeled as threats by their government.
Interestingly, Cromer employs traditional casting methods, opting for a depiction that reveals the racial and gender dynamics of the time. “Good Night” portrays a narrative dominated by white male experiences, illuminated by a few characters of color and women in minor roles, authentically reflecting the societal context of the 1950s.
In the play, Glenn Fleshler brings additional depth to the role of Murrow’s producer, providing a layer of humor that Clooney’s portrayal does not capture, thus enriching the dynamics between the characters. Conversely, some performances, such as Paul Gross’s portrayal of William F. Paley, lack the intensity seen in Frank Langella’s film characterization, thereby missing the opportunity to depict the tensions present in their confrontations.
The stage adaptation also diminishes the complexity of the relationship between the married couple played by Robert Downey Jr. and Patricia Clarkson in the film. The subtlety that characterized the Wershbas’ struggles with network policies in the movie is diluted in this iteration, making their romance feel less significant. Consequently, performed by Ilana Glazer and Carter Hudson, the characters come across as secondary, reminiscent of more traditional musical roles rather than a deeply intertwined story.
Additionally, Scott Pask’s expansive set design, while impressive in its ambition to recreate Grand Central, struggles to achieve fluid transitions between spaces. The visual shifts sometimes feel more reliant on the physical set than the storytelling, indicating a potential opportunity for a more simplified yet evocative production that could utilize lighting as its primary storyteller.
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