The production, based on the 2005 film, which saw George Clooney making his Broadway debut, is both powerful and slickly put together to make for fascinating viewing.
Given the fact that when this play headed to Broadway last year, ticket prices and availability went crazy so it is fantastic for those of us who missed out experiencing the show live to get to experience it via Netflix.
Set in 1953 America when McCarthyism is right at the centre of life, the show concentrates on how Joseph McCarthy was fixated on ridding any public organisations of suspected Communists, with many industries being affected by this. Trying to counteract this is is CBS broadcaster Edward R. Murrow, focusing on one particular case involving Milo Radulovich from the Air Force. But with pressure mounting on the station as there are increasing probes into the staff’s own family connections and histories is it possible to fight for the freedom of media?
Tightly written by George Clooney and Grant Heslov, this is a play that makes many powerful arguments on the media, freedom of speech and how much that people are willing to risk for their beliefs that keeps the audience invested in its outcome. There is a really delicate balance in the way in which the story plays out which will particularly fascinate anyone with an interest in this particular part in history and journalism.
Not a moment is wasted in this play and even the live performances of songs such as ‘When I Fall in Love’ and ‘Let’s Face the Music and Dance’ which lyrically seem appropriately used to enhance that sense of danger and menace as the walls begin to close in.
There is a real urgency to the way in which David Cromer has directed the production, really enhancing the moments of light through the relationship between Shirley Wershba (a delightfully playful and sassy Ilana Glazer) and Joe Wershba (Carter Hudson who made his Broadway debut), as well as the darkness through the unexpected death of a work colleague.
Throughout it all, there is a real sense that this play can be seen as a warning to us today, packing a powerful punch as the ending montage of video footage of important historical events and how they are covered in the media making a powerful point.
However, it could also be said that at times the production feels overly busy – such as when the characters all talk over one other and the way in which the camera suddenly shifts to show other angles of the set – which works better in some moments than others. Yet despite this it still feels like a tightly put together show – enhanced by Scott Pask’s impressive set design that covers many different areas of a television studio effectively, matched by Heather Gilbert’s gorgeously moody lighting design.
There is also a real intensity and passion to all of the performances on display. At the centre of it all, George Clooney is able to drive the story forward with great intensity and insight, well matched with Glenn Flesher’s performance as Fred Friendly that shows great camaraderie between the pair. Mac Brandt as Colonel Anderson also makes a strong impression.
Both powerful and subtle in the way in which it unfolds, Good Night, and Good Luck is a worth while piece of theatre to watch.
Rating: ❤️❤️❤️❤️