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Holmes makes lackluster comebackBy Mattwidman

Dead Accounts

Given the many outstanding plays that premiered Off-Broadway last month and really deserve to be seen (including Samuel D. Hunter's "The Whale" and Christopher Durang's "Vanya and Sonia and Masha and Spike"), it's depressing to have yet another insubstantial, uneventful and pointless play by Theresa Rebeck on the stage.

Rebeck's lackluster "Seminar," on Broadway last season, was just a showcase for star Alan Rickman.

The same could be said about "Dead Accounts," in which two-time Tony winner Norbert Leo Butz plays a self-absorbed prodigal son who returns to his childhood home after having embezzled $27 million from bank accounts of the recently deceased, which leads to his wife (Judy Greer) chasing after him.

Rebeck offers just a tiny sliver of a plot, undeveloped characters and a few themes that are superficially explored.

But let's not lie to ourselves. The real attraction of "Dead Accounts" is seeing Katie Holmes in her first professional gig after deserting Tom Cruise. Oddly enough, she only has a supporting, rather uninteresting role as Butz's homely-looking, stressed-out sister.

Perhaps Holmes was looking for an non-challenging assignment. If you recall, she did not fare too well in a more dramatic role in Arthur Miller's "All My Sons" back in 2008.

There is one show-stopping moment, when Holmes grabs a box of wine from the refrigerator. Although the stars did not receive entrance applause, the wine sure did.

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