Breakfast at Tiffany's

I am currently doing post graduate research on Capote and came across from NY to see the show on Monday. What I loved about this production was the faithfulness of the direction, narration and set to the original novella. First, the script allowed Capote to speak to us through Bill and the cadences, rhythm and imagery were so authentic. The direction allowed for those movements to and fro in time which are so much a part of the American novel. It was like listening to Bill think aloud. The set captured the impressionistic imagery that Capote uses and provided us with that overall sense of a theatrical back drop which is at the heart of the novella. Finally, there is Anna Friel who puts guts into Holly Golightly and makes us believe that she lives and breathes even though she is beyond our reach. This is a a play for the intelligent and the literate.

Absolutely loved it! Dark, touching and funny. Anna Friel is both vulnerable and charming as Holly. I loved the James Dryfus and the quick changing party girl. Cried at the end.... the cat was perfect. Shall go and see it again.

It has been with increasing incredulity that I have read reviews of Breakfast at Tiffanys. The Times, The Guardian and the Independent all write off Sean Mathias's challenging and dark production because it is not Blake Edward's 1961 film. The film of course bears no relation to Capote's novella and what is so brave about the play on at the Haymarket is that it goes where Edwards never dared to venture and dashes the Hepburn myth tha Holly Golightly fired the sexual imagination of all the red blooded males whom she encountered. What Capote clearly intended and what Mathias has delivered is the extraordinary paradox of a young man coming to terms with his homosexulaity and the "different kinds of love" through his relationship with the enigmatic Holly G. What is more, where Blake Edwards offers only light the froth of New York society in his film, Sean Mathias' production reveals the dark, hidden often unconscious cruelties of a society utterly obsessed with prudish conformity. Far from being disjointed or in any way inapproriate Adamson's script is utterly faithful to Capote's narrative. Indeed, he has capyured something of the many layered elements of the narrative of The Great Gatsby here and if the story isn't immediately obvious to the reviewers then it reflects far more on their insensitivity to language than it does to the quality of writing that is of the highest order. The time shifts and switches in direction are reflective of the narrator's mind, still trying to make sense of the inexplicable. The subtlety of Anna Friel's performce far exceeds what was asked of the wonderful Audrey Hepburn, Joseph Cross is brilliantly puzzled and lost in his search for meaning and James Dreyfus exudes corrupt self regard in his philistine dismissal of all that is not popular and instant. There are two scenes that rival anything I have seen in the West End for a long time: the party scene where Annie Hemingway dazzles with her cameos of the transferrable actresses and the final scene where the present and the past come seemlessly together in one man's mind. Beautiful, touching and truly human, and as so often it is sad that real quality isn't recogmised by those who are paid to seek it out. So bravo Charles Spencer, the one reviewer who responded to the play and not an event of nealy fifty years ago.

It has been with increasing incredulity that I have read reviews of Breakfast at Tiffanys. The Times, The Guardian and the Independent all write off Sean Mathias's challenging and dark production because it is not Blake Edward's 1961 film. The film of course bears no relation to Capote's novella and what is so brave about the play on at the Haymarket is that it goes where Edwards never dared to venture and dashes the Hepburn myth tha Holly Golightly fired the sexual imagination of all the red blooded males whom she encountered. What Capote clearly intended and what Mathias has delivered is the extraordinary paradox of a young man coming to terms with his homosexulaity and the "different kinds of love" through his relationship with the enigmatic Holly G. What is more, where Blake Edwards offers only light the froth of New York society in his film, Sean Mathias' production reveals the dark, hidden often unconscious cruelties of a society utterly obsessed with prudish conformity. Far from being disjointed or in any way inapproriate Adamson's script is utterly faithful to Capote's narrative. Indeed, he has capyured something of the many layered elements of the narrative of The Great Gatsby here and if the story isn't immediately obvious to the reviewers then it reflects far more on their insensitivity to language than it does to the quality of writing that is of the highest order. The time shifts and switches in direction are reflective of the narrator's mind, still trying to make sense of the inexplicable. The subtlety of Anna Friel's performce far exceeds what was asked of the wonderful Audrey Hepburn, Joseph Cross is brilliantly puzzled and lost in his search for meaning and James Dreyfus exudes corrupt self regard in his philistine dismissal of all that is not popular and instant. There are two scenes that rival anything I have seen in the West End for a long time: the party scene where Annie Hemingway dazzles with her cameos of the transferrable actresses and the final scene where the present and the past come seemlessly together in one man's mind. Beautiful, touching and truly human, and as so often it is sad that real quality isn't recogmised by those who are paid to seek it out. So bravo Charles Spencer, the one reviewer who responded to the play and not an event of nealy fifty years ago.

I was reluctant to go and see Breakfast at Tiffany's having read some of the negative reviews here, but I saw it this afternoon, and had a wonderful time. It's funny, bitter sweet, and absolutely captures the world of Truman Capote's novella. Anna Friel is feisty, and utterly captivating as Holly Golightly, Joseph Cross handsome and vulnerable, and there is a beautifully moving performance from Dermot Crowley as the love lorn Joe Bell. I urge you to see it.

What a storming production, I'm a huge fan of the film and didn't think the play would come up to scratch- but i was wrong! It's better by miles- anna friel is absolutely superb and joseph cross an absolute hunk (if a bit wimpish on stage) if you hate naked flesh stay away! i couldn't recommend it more highly- ignore the crits (as they're all men) and haven't a clue. this is brilliant just go!

I saw the show on Saturday and loved it. I'm a B.A.T fan, read the book and love the dialogue so was looking forward to that same pace and humour - the show didn't let me down! I laughed out loud, loved Anna Friel as a gorgous Holly - thought Fred could've been more mature some how. The set was clever and modern, costumes fab, good eye candy in the cast too. Definately recommend this one!

I saw the play last night and am totally at odds with what's blogged here. Yeah plays demand a bit more intelligence and attention than your average musical, but Breakfast at Tiffany's is a superbly refreshed modern take on an old (dated) classic. The show has excellent performances from almost all of the cast, it's witty, sexual and clever. Sure Holly's aloof and Anna Friel is no Audrey but this is 2009 and things move on, this isn't a film but a superbly crafted play. James Dreyfus kicks it up the ass as a superb OJ and from then on the play motors. The fabulous set and design are worthy of a small musical so don't bitch at the cost of a ticket. Tell the theatre (manager@trh.co.uk) that their facilities aren't up to scratch for 2009. Everything about this play is class- couldn't recommend this more.

Having read the negative reviews here I can only add to them. I saw this on the first preview night and came away feeling disappointed. It didn't work for me on a number of levels. I was sitting in the front gallery seats ( Aside: these were the worst seats in any theatre - thinly upholstered benches - upright - no leg room - being kicked in the back by those behind me. At the interval my neighbour and I moved down into the empty circle seats.) but the sound didn't travel and it was hard to make out what anyone was saying. I found Fred's acting and delivery very wooden - how Holly would ever have fallen for him I will never know. Anna actually came across assertive but also vulnerable fitting in well with her role. The scenery was minimal and monotonous after a while - many a time I had to remind myself of the film and fill in the missing props. One thing that will be discussed will be the two naked scenes and I'm sure a number of people will be drawn by it, but it's poor when you have rely on that to get the punters in. I think the biggest feedback was that there wasn't a standing ovation at the end. Frankly I'll be surprised if it sees out the whole run.

I saw the show last night and in light of the contrasting reviews on here thought I would try and be of some help to anyone considering going along. Firstly, the Haymarket theatre is divine, sumptuous and clearly just been refurbished and wonderfully so. The show fits gloriously here. It is a quality production, with costumes that deliver the glamour and style for the girls and clever use of the two large New York fire escapes. I do agree with CrestaRider about them not looking out of place on the side of a cargo ship however, they are white and looming. At first glance the Tiffany blue set is enchanting, but after a while, grates and with many quick fire scenes you have to really use your imagination at times (especially the bizarre horse ride through Central Park). Lastly, the acting. Anna Friel shines and proves herself securely as the strong lovable talent we know from her varied range of tv and film exploits over the years. Her accent, yes, falters on the odd word and Northern tones creep in especially when she's singing or argues, but its forgiveable. It's an epic role and Friel delivers and showcases the full story and not just the beautiful Hepburn version. The plot and length of the play is slightly tiresome towards the end (and you learn quickly how and why the film ended up as it did) but overall it is a credible production. Don't go expecting romance to the hilt, its rather dark and dreary in places, but certainly worth a night out in the West End. Do treat yourselves a martini or two prior to embrace the evening (and oil the wheels a little) first.

So boring.. in every way.. I left in the middle..

One of the worst things I have seen for years. Avoid at all cost.

saw the show thursday - loved it - i agree, people on the facebook page also like it and there are like 1300 of them!!

see this people dont agree: http://www.facebook.com/breakfastattiffanystheplay?ref=search&sid=716276301.1091539616..1&v=wall

I saw this show tonight and have to agree with the negative reviews. Except for James Dreyfus, this show is horrendous. I'm an American and lived in the South for eight years. Joseph Cross' accent and the rhythm of his speech is all wrong. Plus the show is done through his viewpoint and he's incredibly boring to watch. It was completely implausible that there was any kind of attraction between the two lead characters. Anna Friel wasn't much better. The two actors never connect emotionally. Thankfully I only paid half price for the tickets, but I want the 2.5 hours of my life back. Avoid this show at all costs.

I enjoyed because I really like Anna Friel. I think she was superb. Overall, it was entertaining, witty, super acting and funny at times. One of the best shows I've seen in the West End for quite a while

This is dreadful in so many ways. Firstly the set, which consists of two vastly expensive, white-painted, gantry like metal staircases which revolve and slide across the stage in the same way that the other wonders of the world don’t. What’s the point? They look exactly the same from the one side as they do from the other, they do nothing to evoke the atmosphere of a 1940’s New York Brownstone, more like the loading area of Felixstowe Dock. Secondly, the Stage Adaptation. Forty minutes of quick-fire garbage was followed by 20 minutes of quick-fire garbage at a ‘party-scene’, peppered with the f**k word, used as skilfully as a twelve year old who discovers that he can use the word ‘fart’ in his English essay and not get told off. My overall impression, at the end of the first act, was that I’d sat on a pavement in a busy Oxford Street and had the thing shouted at me by ten people on the opposite side of the road. Then, the costumes. The original 1940’s gear lost all impact against the bland, Tiffany-blue, cloud-strewn background, the cast might just as well have been wearing crew uniforms from the first series of Star Trek. Lastly, the acting. Joseph Cross’ dopey grinning face just gets more irritating the longer you sit there. Other than that, he makes an excellent Bill, (or is it Ben) against Anna Friel’s Weed. And how many accents has that girl got? I counted four, including ‘Southern drawl’, ‘East Side Jewish’, ‘that sort of funny English that Swiss people speak when they’ve been taught by an American’ and of course the inevitable ‘Northern bird’, which re-surfaced every forth line or so. As an indication of the standard of acting, the only murmur of an appreciative reaction from the mostly female audience, was reserved for the appearance of the cat, who at least had the decency to run, embarrassed, off stage. I can’t believe, that at some point of extensive, gruelling rehearsals, someone, somewhere didn’t gingerly raise a hand and say “Excuse me, this is rubbish”. Looking at the schedule of this junk, they are expecting people to book (at full price) as a ‘Christmas Treat’, for family or a loved one. Take my advice. Don’t.

Do not be tempted to buy seats at £15 in the gallery - they are tiny, hard, extremely uncomfortable and impossible if you have a coat, bags, a drink with you. Anyone with back problems will be in agony before half time. We left after the first half, partly from boredom with the tedious acting, disappointing sets and horrid costumes and partly because the seats were so appallingly uncomfortable.