The Broadway premiere of “Dog Day Afternoon,” based on the 1972 bank robbery and subsequent standoff, has arrived after a decade in development. Starring Jon Bernthal and Ebon Moss-Bachrach, the play aims to recapture the energy of the original film, but ultimately misses the mark.

Based on a True Story

The play, like the 1975 film directed by Sidney Lumet, is rooted in the real-life story of John Wojtowicz, a Vietnam veteran who attempted to rob a Chase bank in Brooklyn on a sweltering August day. The botched robbery quickly escalated into a day-long standoff, attracting a large crowd and intense media attention. It became a sensational media event, turning the perpetrators into unlikely folk heroes.

A Disappointing Adaptation

Despite the compelling source material, the stage adaptation, written by Stephen Adly Guirgis and directed by Rupert Goold, is described as a frustrating experience. Critics note a jarring tonal shift, characterizing the play as a “noisy sitcom punctuated by gunshots” rather than a nuanced human drama.

The production relies heavily on slapstick and outdated jokes, diminishing the complexity of the original story. A revolving stage effectively depicts the bank’s interior and exterior, but crucial dramatic moments occur offstage, hindering the audience’s connection to the action.

Performances and Characterizations

Jon Bernthal and Ebon Moss-Bachrach, known for their work on FX’s “The Bear,” deliver performances that feel like imitations rather than reinterpretations. Bernthal’s portrayal of Sonny is described as “cocky Pacino cosplay,” lacking the vulnerability of the original character. Moss-Bachrach’s Sal is presented as a one-dimensional psychopath.

Jessica Hecht, as Colleen, the head teller, is highlighted as the production’s strongest performer, bringing warmth and complexity to her role. However, the overall characterizations are deemed hollow and unconvincing.

A Misstep in Representation

The play’s handling of Sonny’s sexuality, a significant aspect of the real-life story and the film, is particularly criticized. The character of Leon, Wojtowicz’s partner, is reduced to a stereotypical caricature, with jokes that undermine the nuance and sensitivity present in the original film. The production misses an opportunity to explore the complexities of their relationship and the historical context of LGBTQ+ representation.

Ultimately, the Broadway adaptation of “Dog Day Afternoon” fails to capture the tension, humor, and emotional depth of the source material, leaving audiences wanting more.