Chances are that the audience buy tickets to see Breakfast at Tiffany’s because they want to relive glamour of the classic film. If this is the case, then they might be a little disappointed by this harder edged story which lacks the romance of the movie.
Richard Greenberg has gone back to the original book by Truman Capote for this adaptation of the story about a young writer’s relationship with a loveable party girl in 1940’s New York, rather than the iconic Blake Edwards lightweight 1961 comedy starring Audrey Hepburn and George Peppard. Whilst the story remains faithful, it is far darker and trades fantasy for grim reality.
Audrey Hepburn was beautiful, infuriating, funny and deeply touching in the role of Holly Golightly in the film version. Her image with the swept up chignon, tiara and pearls has been replicated a million times, and so her cigarette holding shadow will always be cast over any actress trying to recreate the role.
Emily Atack must be applauded for taking on such a mammoth task. Not only does she have to please the die-hard Hepburn fans, but also transfer the role to stage. She doesn’t so much try and copy Hepburn in looks, although she’s nailed the accent. This Holly is a platinum blond, more along the lines of Jayne Mansfield or Marilyn Monroe, the latter whom it was rumoured Capote had in mind originally for the film. Atack’s Holly is not so much of a likeable character as Hepburns, partly due to a wordy script which doesn’t really capture the emotional danger, loneliness or fear behind the bravado. She is still a free spirit but far savier than her on screen version and will seemingly stop at nothing to bag herself a life of luxury with a rich fella.
Matt Barber does a good job as Fred, upon who this version of story centres around as he pines for Holly’s affections whilst struggling to find acceptance as a writer in New York, yet the character still lacks a certain charm. The play concentrates entirely on the two tough-talking central characters, not really giving the supporting cast a chance to come into their own.
You cannot fault the overall story and no doubt this version directed by Nikolai Foster explores far more deeply the social chameleon Capote intends and stays truer to the story; Capote once stated that the film was ‘a mawkish Valentine to New York City’. Nor can you fault the grand set design with a romantic Manhatten Skyline, sets and props being wheeled in or suspended from the ceiling at top speed. An impressive Brooklyn bridge features as Fred’s declaration of love for Holly is met with an icy response.
There are three songs in the production but don’t go along thinking it is a musical. Obviously there is ‘Moon River’ which gets two outings, as well as Rogers and Hammerstein’s ‘People Will Say We’re in Love’ plus ‘Hold Up My Dying Day’; all faultlessly performed by Atack in this, her stage debut, and yet with the exception of Moon River, seem a little misplaced.
The conviction of the characters isn’t quite believable, therefore you don’t ultimately care about them and the dialogue drags. You find your mind wandering as your interest wanes. As the loose ends of Holly’s story are tied up and Fred delivers his closing scene about unrequited love, it is sad but it doesn’t move you, if anything you yearn for another shot of Audrey Hepburn singing Moon River.
With the exception of Micky Rooneys unconvincing set of false teeth and bad Chinese accent, the film is far superior, that said, with the odds against it from the start, if you go along with the mindset that you are seeing a play which is an adaptation of a book, then it will probably prove to be an enjoyable evening. Go along expecting a rom-com, you’ll be disappointed.
Showing at Theatre a Royal until Saturday 14th May. Tickets available from www.trch.co.uk
Review by Tanya Raybould
