Yet another new production enters the current Broadway season boasting a well-known film and television star, a large movie screen, and several television screens that surround the proscenium to provide close-ups of the actor. It is an adaptation for stage, from a movie bearing the same name. The well-known star is George Clooney, making his Broadway debut, and the show is based on the film “Good Night, and Good Luck” which he directed. He is credited as a co-writer of this incarnation along with Grant Heslov. This could be one of the reasons why it is one of the most sought after and expensive tickets of the season. The show has a nearly sold-out run, and it has broken box office records by grossing over three million dollars in a week. Lately this new formula of a star-studded cast, a limited run to increase demand, and high-ticket prices is a path to a financially successful run. At least in this production, like the stage production of “Network”, the images on screen make sense because the subject matter involves a news broadcast journalist. On the downside, once again at times the audience cannot see the actors on stage because of the large 1950’s camaras, and the floating screen that reveals the close-up images. So, the question remains; does this create a riveting dramatic presentation on the stage, or is it merely like watching television on a large screen without the comforts of home?

For those unfamiliar with the film, the plot revolves around the journalistic coverage of Joseph Mc Carthy, who fueled the fears that Communism was invading the country during the Cold War. Edward R. Murrow confronted the Junior Senator on his weekly show “See It Now”, which was a transformation of his radio show “Hear It Now,” after the news personality moved to television broadcasting. He exposed the empty allegations Mc Carthy had made against innocent American educators, film makers, and journalists being members of the Communist Party. After a fierce rebuttal, Mc Carthy was finally censored by the Us Senate in 1954. Even though it was a huge win and breakthrough, Murrow’s weekly broadcast was all but cancelled.

Mr. Clooney certainly captures the look and essence of the infamous Edward R. Murrow, but one could just as easily watch old clips of Murrow’s news broadcasts, which are recreated in this production but tailored for the stage. The impressive scenic design By Scott Pask captures the period detail of a 1950’s television news offices, an impressive second level train station and a recording studio. It is all shrouded in the atmospheric and shadowy lighting design by Heather Gilbert, which along with the period perfect costumes designed by Brenda Abbandandolo, they create a serious and ominous tone which accentuates the grave subject matter.

Director David Cromer moves his cast fluidly through seamless scene changes but only keeps a slow steady and monotonous pace that makes the production drag. The sporadic jazz ballads sung live from the recording studio, may comment on the activity, but add nothing to the advancement of the plot and almost seem intrusive. There is a heavy-handed approach in comparing this historical event to the present-day political landscape, that is capped off with a montage of news videos from the last few decades, that is used as a backdrop during the closing speech made by Murrow. Perhaps Mr. Cromer is merely trying to appeal to the audience that erupts in applause at every chance to support the fight for freedom that could possibly be in jeopardy. The cast is competent, but they cannot overcome the two-dimensional characters they are given to portray. The design team is remarkable, but the product lacks the substance and dramatic punch that makes live theatre exciting. So, if you are willing to gamble and make that hefty investment for a ticket, Mr. Murrow’s tag line, “Good Night and Good Luck”, may be extremely relevant.