When “Good Night, and Good Luck” arrived on Broadway this spring, it initially provoked a surprising amount of cynicism. There were complaints that the adaptation by George Clooney and Grant Heslov was basically a reproduction of the 2005 film, which chronicled CBS newsman Edward R. Murrow’s heroic crusade against Sen. Joseph McCarthy’s communist witch hunts.
The sky-high cost of tickets was another source of criticism. Was Broadway pricing itself beyond the reach of its core audience? Reports of “Good Night, and Good Luck” shattering box office records served to remind those who couldn’t afford a ticket that they were being left behind by a theater culture that was siding with the haves over the have-nots.
In a Broadway season that featured Denzel Washington and Jake Gyllenhaal in a rudderless “Othello” and Kieran Culkin in a “Glengarry Glen Ross” revival that might have been stronger without him, “Good Night, and Good Luck” was a convenient target for anti-Hollywood sentiment.
When I arrived at the Winter Garden for a Saturday matinee in April, I can’t say my expectations were especially high. I admired the film but hadn’t seen it in nearly 20 years. The broodingly elegant production, sharply directed by David Cromer and starring a quietly committed Clooney in the role of Murrow (played in the film by David Strathairn), was not only one of the most stirring offerings of the Broadway season but also one of the most necessary.
I left the theater wishing I could buy tickets for my friends and family. That won’t be necessary — thankfully for my credit cards — because CNN will be broadcasting a live performance of “Good Night, and Good Luck” from the Winter Garden on Saturday. It’s apparently the first time a Broadway play will be shown live on television, and the timing could not be better.
As media companies face a campaign of intimidation from the Trump administration, the figure of Murrow, standing tall in the face of demagogic adversity, is the courageous example we need right now.
I don’t know how different the experience will be watching at home, but “Good Night, and Good Luck” made me reflect on what theatergoing might have been like in ancient Greece. Athenian citizens would gather at an open-air theater as a democratic privilege and responsibility. Playwrights addressed the polis not by dramatizing current events but by recasting tales from the mythological and historic past to sharpen critical thinking on contemporary concerns.
Clooney and Heslov aren’t writing dramatic poetry. Their more straightforward approach is closer to documentary drama, but the effect is not so disparate. We are affirmed in the knowledge that we are the body politic.
CNN will broadcast the penultimate performance of “Good Night, and Good Luck” on the eve of the Tony Awards. The production is up for five Tonys, including one for Clooney in the lead performance by an actor in a play category. But however the awards shake out, Clooney is already a winner. Like Murrow, he reminds us that conscience can still be a defining feature of the American character.
