‘Good Night, and Good Luck’ Theater Review: George Clooney Makes Restrained Broadway Debut in an Adaptation Most Notable for Its Timeliness

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Towards the end of the film “Good Night, and Good Luck“, Clark Gregg, delivering a poignant portrayal of CBS newscaster Don Hollenbeck, gives a sad commentary. His life, marked by a recent divorce and constant accusations labeling him as a “pinko”, leads him to say: “I wake up in the morning and I don’t recognize anything. It feels like I fell asleep three years ago, and everyone else boarded a plane to Europe without me.” This line resonates deeply with a New York City audience in 2025, eliciting standing ovations.

Regardless of any improvements in adapting George Clooney’s 2005 film, which was both his second directorial effort and arguably his best, for the stage, its relevance delivers a powerful punch. At the time of the movie’s release, issues concerning media responsibility and the right to express political opinions were already significant in public debate. Now, two decades later, these topics have become critically important, giving the drama an added sense of immediacy that intensifies its impact – despite some flaws in the play itself.

Clooney and his writing partner Grant Heslov have transformed their script on CBS news legend Edward R. Murrow’s role in dismantling Senator Joseph McCarthy into a dual purpose teaching tool and ode to the hustle and bustle of early American live TV newsrooms.

When the play sometimes feels as informative as it does dramatic, David Cromer’s elaborate production manages to stay refined while providing an engaging spectacle. It skillfully portrays the working environment with vivid details and effectively depicts the resilience and determination of a news team during an era when the major networks still held their monopoly in the face of the information landscape’s subsequent fragmentation.

Traditional news channels, known for their strong political inclinations from both sides, initiated this transformation. However, social media and podcasts have fostered an environment where Americans can opt to consume news that aligns with their perspectives, filtering out opposing views. Misinformation, originating from various sources, is repeated so frequently that it becomes accepted as truth. The question “Good Night, and Good Luck” raises implicitly is: In this biased landscape, who are the trustworthy journalists of today, akin to Edward R. Murrow?

In the movie, Clooney portrayed Fred W. Friendly, a writer-producer for Murrow’s weekly newsmagazine called “See It Now“. From March 1954 onwards, this program played a significant role in changing public perception about McCarthy’s anti-communist crusade and the questionable tactics used by the man himself, which threatened fundamental American liberties.

The sustained effort by the “junior senator from Wisconsin,” often sarcastically addressed by Murrow, to stir fear of communism (Red Scare) was primarily constructed on falsehoods, intimidation, and labeling anyone who challenged his tactics as a traitor. Reminds me of something, doesn’t it?

In the film, Clooney didn’t take the spotlight but instead provided a balanced contrast to David Strathairn’s captivating portrayal of Murrow with his genuine warmth and charm. On stage, however, Clooney delves deep into the weightiness of the role, suppressing his movie-star appeal for a selfless performance devoid of vanity. This marks his return to acting on stage after 1986, though some might argue that his performance lacks the intensity necessary to truly anchor the play.

The problem is exacerbated by the choice of Glenn Fleshler as Friendly. Although Fleshler is a skilled theater actor and more fitting physically for the real Fred Friendly compared to Clooney, his performance lacks depth in this production. The character appears to have lost complexity when transitioning from screen to stage.

The device effectively functioning just like in the movie is using McCarthy to appear via archived footage, showcasing scenes from his Senate hearings and reaction to Murrow’s report on See It Now, with no chance for immediate rebuttal until the following week’s episode. These clips are displayed on multiple screens within Scott Pask’s immersive CBS studio set, as well as vintage 1950s black-and-white televisions that line the Winter Garden Theatre’s spacious stage.

In this production, like in the original film, you’ll find brief musical segments called interludes. The in-house CBS band plays popular tunes from the time period on a raised stage, with captivating jazz vocals by Georgia Heers who starts off the performance with “When I Fall in Love.” Some of these songs, such as “I’ve Got My Eyes on You” by Cole Porter and “Let’s Face the Music and Dance” by Irving Berlin, might be seen as subtle echoes of the storyline, but generally they function more as atmospheric additions to the era. While these musical numbers are enjoyable, they do contribute to a slower pace that could benefit from stronger, consistent dramatic pacing throughout the play.

As a gamer, I’ve got to say that Murrow steals the show for me, being the most well-rounded character in this game. The side story about Shirley and Joe Wershba, played by Ilana Glazer and Carter Hudson, who are secretly married but go against CBS rules, doesn’t seem to get as much attention or tension as it could, even though there are some impactful moments from Glazer especially.

In the movie, both Patricia Clarkson and Robert Downey Jr.’s performances were crucial in creating an intense atmosphere of anxiety and suspicion, as if the studio was tainted by the pervasive fear-mongering of McCarthyism. Moreover, several scenes involving Shirley and Joe seemed to underscore a feeling that the material worked best when viewed up close.

Clooney obtains close-ups by receiving live camera feeds that display Murrow’s broadcasts on a screen. With his hair dyed black and always holding a cigarette, the actor skillfully mimics Murrow’s deep, authoritative voice and unique habit of looking up from his notes to interact directly with viewers at home.

Clooney gets close-ups using live camera feeds displaying Murrow’s broadcasts on a screen. With his black hair and the constant cigarette in hand, the actor effectively portrays Murrow’s deep voice and distinctive mannerism of looking up from notes to address viewers directly at home.)

In those on-screen segments, Clooney gets an opportunity to inject some humor as Murrow concludes a rather trivial interview with Liberace, one of the mandatory celebrity encounters he had to endure for the network in order to maintain his editorial freedom in news reporting. When Murrow finishes and the cameraman comments, “Good job, Ed,” his obligatory on-camera grin vanishes swiftly, replaced by a frown.

In Clooney’s scenes, there’s a deep connection with both his allies and those who require delicate handling by Murrow. Notably, this is evident in his interactions with Hollenbeck (played by Gregg) from the former group, and William F. Paley (portrayed by Paul Gross) from the latter.

In a quiet yet authoritative manner, Gross, portrayed in Slings & Arrows, maintains a noble demeanor while dressed elegantly in a well-tailored pinstripe suit. He is not depicted as a ruthless corporate leader but rather as a principled individual who admires Murrow’s work and abides by his pledge to keep hands off the news team’s operations. However, he remains vigilant about financial matters, growing less cooperative as Murrow’s confrontations with McCarthy endanger a vital sponsor relationship and put the network in progressively precarious circumstances.

The play opens and closes with a speech by Murrow, delivered by Clooney at a podium, during the 1958 Radio and Television News Directors Association Annual Meeting. In this address, he expresses his worry that media is neglecting its duty to inform and enlighten the public, instead focusing on providing distraction to shield viewers from the happenings in their country and worldwide events.

What are you ready to do?” Similarly, he emphasizes earlier in his speech that our history will be shaped by our actions.

Murrow’s initial criticism of McCarthy contains thoughts that resonate strongly with our contemporary America: “It is important not to mistake dissent for disloyalty.” “We should not let fear lead us into a time of irrationality.

Remarkably, McCarthy’s own statements, which Murrow once used to expose his hypocrisy by suggesting that prolonged conflicts between America’s two significant political parties could lead to the demise of one and an inability of the republic to sustain as a single-party system, now appear strikingly prophetic.

As a captivated spectator, I found myself pondering over the striking similarities between the McCarthy era and our current times, subtly woven into the play’s narrative. The rapid succession of historical TV clips – from the JFK assassination to more recent, unnerving events – might have been seen as an overt emphasis by some, while others may appreciate the clarity with which it delineates a timeline leading us to this point in history. The crowd at the performance I attended was thoroughly engaged and could be heard dissecting its implications on their way out. Perhaps it serves to connect the dots effectively?

Regardless of the opinions about “Good Night, and Good Luck” as a play, George Clooney’s dedication appears genuine and intense, given his father was a former news anchor. There’s no question that he sincerely believes this significant part of American history still has important lessons for us in 2025.

Location: Winter Garden Theatre, New York City
Performers: 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
Director: David Cromer
Screenwriters: George Clooney and Grant Heslov (based on their screenplay)
Set Design: Scott Pask
Costume Design: Brenda Abbandandolo
Lighting Design: Heather Gilbert
Sound Design: Daniel Kluger
Projection Design: David Bengali
Music Compositions, Orchestrations, Arrangements & Music Direction: Bryan Carter
Produced by Seaview, Sue Wagner, John Johnson, Smokehouse, Jean Doumanian, Robert Fox, 2929 Entertainment, Participant, Warner Bros. Theatre Ventures

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2025-04-04 07:25