Breakfast at Tiffany’s
The new Broadway staging of “Breakfast at Tiffany’s,” based on the 1958 Truman Capote novella that quickly led to the 1961 film starring Audrey Hepburn, has already received quite a lot of attention due to theatergoers apparently trying to take photos on their phones of star Emilia Clarke during a brief gratuitous nude scene.
All that aside, there is very little excitement to be found in this drab and dragging stage adaptation, which was penned by Richard Greenberg (“Take Me Out”) and is directed by Sean Mathias, who recently staged the show in London using an entirely different script.
For those unfamiliar with the material, it concerns a struggling male writer’s fascination with Holly Golightly, an irresistible, offbeat socialite-escort who lives a few doors away from him in a UES brownstone in the 1940s.
For the most part, Greenberg simply lifts passages from the book and has the writer (Cory Michael Smith) awkwardly and constantly deliver first-person narrations directly to the audience.
Clarke (“Game of Thrones”) imbues Holly Golightly with the vulnerability of an outspoken but fragile young woman. Her emotionally revealing performance is undoubtedly the best part of this lackluster adaptation.
Lost among the cast is George Wendt, who appears as a bartender with fatherly feelings for Holly.
And just in case you were wondering, “Moon River,” the song identified with the film, is never heard.
If you go: “Breakfast at Tiffany’s” plays an open-ended run at the Cort Theatre. 138 W. 48th St., 212-239-6200.