'Dog Day Afternoon' on Broadway: Jon Bernthal Steps into Al Pacino's Shadow

The question of why adapt 'Dog Day Afternoon,' an iconic film from the 70s, to Broadway, finds an answer in the very essence of the work: because it's there.

The stage version, which opened at the August Wilson Theatre, leverages the hostage drama, based on a real incident from August 22, 1972, to create a dynamic theatrical experience. The story unfolds in a confined space, a Brooklyn bank, making it supremely compact and suitable for the theater.

Jon Bernthal, with his characteristic frown and wavy hair, plays Sonny, a character that evokes Al Pacino's interpretation, but with a rougher, more streetwise tone. His Sonny is less vulnerable in his cluelessness, entering the bank with two bumbling accomplices for a robbery that quickly turns into a hostage situation.

David Korins's set design transforms the stage, rotating to show the interior of the bank and the street, incorporating the film's double perspective. The onlookers are represented by ambient noise, and the police officers walk through the theater aisles, pointing guns at Sonny.

Rupert Goold's direction adapts the film's logistics effectively, keeping the action taut and invigorating. However, the play accentuates the comedic element, especially in the interactions between Sonny and Colleen, the head teller, played by Jessica Hecht.

Each of the tellers, and even Sal in his paranoid stupor, are integrated into a dialogue that, at times, turns the play into a version of 'Cheers', but with a crime drama and a disturbed central character.

The play presents a significant change in tone, especially in the representation of Sonny's homosexuality. Bernthal openly declares his homosexuality to the hostages, and the arrival of Leon, his partner, is addressed more explicitly and sentimentally.

Esteban Andres Cruz, evoking Chris Sarandon, brings Leon to life, a touching character, but it is Sonny who sheds the tears. This version of 'Dog Day Afternoon' is more upfront and unapologetic, although, paradoxically, it may be less powerful.

While the play is a clever theatrical adaptation, it does not achieve the same power or emotional impact as the original film.

Sidney Lumet's film, with Al Pacino's performance, is a cinematic masterpiece. Although Bernthal offers a solid performance, he does not manage to evoke the same grandeur or anguish that Pacino conveyed. The theatrical adaptation, although intelligent, does not reach the same emotional depth.