Network (NYC)
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Network (NYC)
84

Network (NYC) NYC Reviews and Tickets

84%
(612 Reviews)
Positive
91%
Mixed
7%
Negative
2%
Members say
Great acting, Great staging, Absorbing, Relevant, Ambitious

About the Show

After making its premiere in at the National Theatre in London, the adaptation of the Oscar-winning film comes to Broadway, starring Tony and Emmy winner Bryan Cranston.

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Member Reviews (612)

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75
Dazzling technology, Devoid of true emotion, Lots of speeches, Edgy, Relevant

See it if you love Cranston. Or you love hi-tech prodns (creative screens, filming). Insights into dangers of TV news and of lg multi-natl corps.

Don't see it if you want 3-D characters. IVH always misses humor/emotions. It's all surface. Script is repetitive. Room to cut. Some annoying aud particptn.

90
Thought-provoking, Dizzying, Relevant, Great acting, Great staging

See it if Multimedia spectacle dazzles the senses while delivering a blistering attack on hypocrisy and complicity. Show audience plays TV audience.

Don't see it if You don't want to be bombarded with philosophical challenges. This is an intellectual play, not an emotionally moving one.

Critic Reviews (55)

The New York Times
December 6th, 2018

"And if you’re a glutton for great, high-risk acting, you owe Mr. Cranston the courtesy — and yourself the thrill — of watching his self-immolation...If the bravura dementia of his Howard makes much of the rest of the show seem as two-dimensional as a flat TV screen, it’s a trade-off I’m willing to accept, albeit with a sigh...As a portrait of a displaced man unraveling, Mr. Cranston’s wrenching performance stands on its own."
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Time Out New York
December 6th, 2018

"Bryan Cranston has a hell of a mad scene in the middle of 'Network'...It’s riveting stuff, because Cranston is an extraordinary actor, and also because, for an extended moment in this tech blitz of a show, there appears to be a human being onstage. Paddy Chayefsky’s Oscar-winning screenplay was a satire of the values of the television age, but humor has never been Van Hove’s strength, and this 'Network' has virtually none of it...'Network' isn’t galvanizing, it’s numbing."
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New York Magazine / Vulture
December 6th, 2018

"There’s something flat about van Hove’s production. It’s got all the requisite external flash, and Lee Hall’s adapted script is clear enough in its outlining of the story’s heightening stakes — the problem is, we recognize those stakes intellectually, but we don’t really feel them...van Hove has only one actor who’s truly on fire. Bryan Cranston’s Beale is a ferocious performance...Other than Cranston, the people feel stuck, sometimes overwrought and often stiff."
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The Hollywood Reporter
December 6th, 2018

"The satirical sting may have been blunted by time, but the prescience is indisputable...What hurts the writing at 40-plus years' distance is that by remaining locked in the 1970s, it arguably doesn't go far enough...Still, as a real-world horror show about the profits to be reaped by accessing popular anger, 'Network' remains gripping, largely because Cranston makes his character's tragic trajectory a white-knuckle ride, and van Hove infuses the drama with dizzying kinetic energy."
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Entertainment Weekly
December 6th, 2018

"van Hove’s overly busy production can’t match the bareknuckle force of his leading man’s performance. Whenever Cranston isn’t on stage, the show tends to feel a bit didactic. And some of van Hove’s flashy, fourth-wall-breaking technical daredevilry feels distracting and oddly pointless...There’s no question that 'Network' is a sickeningly timely evening of theater. But whenever Cranston wasn’t on stage, I had to keep reminding myself why I loved the movie so much."
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Variety
December 6th, 2018

"Chayefsky’s diatribe, which played as satire almost a half-century ago, takes on fresh fury in a sizzling stage production, directed by Ivo Van Hove, that feels less satiric but more urgent — and frightening — in today’s times...The depth of Chayefsky’s cynicism is so breathtaking, so full of existential despair that it makes today’s critical pundits look like weepy whiners. Although Cranston never pushes Beale over the edge into madness, he brilliantly nudges him to the outer limits of anger."
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The Wall Street Journal
December 6th, 2018

"Chayefsky’s predictions having long since come to pass, 'Network' is thus a musty period piece...Cranston overcomes that obstacle by putting a personal spin on the part...Not so his colleagues...which has the unintended effect of turning 'Network' into a one-man show...If you’re willing to pay Broadway prices to see Cranston give a tremendous performance, there’s a chance you’ll go home happy. Otherwise, you might as well rent the movie."
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The Observer
December 7th, 2018

“Despite an overwhelming star performance by Cranston...And a technology-crammed set so full of distractions that you are too busy watching all the visuals to remember what the play is about in the first place...’Network’ is as dated and irrelevant as a nickel phone call...Both the script and direction careen recklessly between a swerving clash of styles that lurch from mood to mood in scenes of farce, high drama, naturalism and comic fantasy...A combination of ambrosia and apocalypse.”
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Deadline
December 6th, 2018

"My late-arriving discussion of the production seems justified for a play so completely dominated by a single performance. In most other respects, 'Network' is something of a let-down, and certainly no improvement over the film...The adaptation by Lee Hall sticks close to Chayefsky’s original script, with mixed results...Cranston comes damn close to matching the power of Finch’s Beale, focusing more than he predecessor on the character’s desperate sadness."
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The Washington Post
December 6th, 2018

"Chayefsky’s celebrated screenplay is...dolled up with all sorts of distracting gadgetry by that maestro of fancy doodads, Ivo van Hove...One of the play’s multiple themes is how we’re controlled by TV and the other gizmos we’ve created. The fact that, at times, van Hove forces our eye toward the screens, even when humans are standing front and center before us, is one of the production’s better jokes. But Cranston is the only human in a cast 23 strong with any power to move us."
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New York Post
December 6th, 2018

"Cranston does the impossible...he makes Peter Finch’s Oscar-winning turn feel like yesterday’s news...If only the rest of the show was even half as good...Hall, hewing closely and at times verbatim to Chayefsky’s screenplay, fails to rustle up any resonance or fresh insights for today’s era of fake news...When the focus veers from Howard to corporate doublespeak and a cliched melodrama — at least as it’s played here — about an extramarital affair, it’s time to switch channels."
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New York Daily News
December 6th, 2018

"Cranston has some truly stunning moments...The central directorial conceit is a measure, of course, of van Hove's genius...Not all of the personal scenes are as strong as Cranston's astonishing solo spots...But while you might wish for more depth in some scenes, that's just not the point of the production. This is one profoundly clever show, the rare conceptual masterwork that puts all the current railing against fake news and cheap network theatrics in a much broader temporal context."
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AM New York
December 6th, 2018

"A freewheeling, fast and furious, absolutely mesmerizing stage adaptation...Whereas van Hove's tech-savvy, experimental approach often comes off as overblown, self-indulgent, pretentious and bewildering, it is perfectly suited to the media-overflow milieu of 'Network'...Cranston gives an all-out, remarkable performance — full of raw emotion, magnetic presence, superb comedic timing, and a genuine sense of struggle, unpredictability and urgency."
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NY1
December 6th, 2018

"Acclaimed stage director Ivo Van Hove’s exhilarating production is a laudable effort to revisit Chayevsky’s chilling prophecy, but in this version, the towering presence of Bryan Cranston delivering a monumental performance upstages the medium and the message...Cranston’s performance ranks among the best I’ve ever seen on a live stage. It will go down as legendary. But through a combination of miscasting and lopsided writing, the other performances pale by comparison."
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Theatermania
December 6th, 2018

"'Network' is a story for our time, which is why it is disappointing that Hall and director Ivo van Hove only make the half-choice to set it here and now...Preserving much of what didn't work in Chayefsky's screenplay...'Network' relies on such operatic rants, not all of which are created equal. Also unequal is the skill with which this cast delivers them...Our eyes are involuntarily drawn to the action on the huge screen upstage. How can real humans possibly compete."
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BroadwayWorld
December 6th, 2018

"The brilliance of placing a stage adaptation of Chayefsky's story of television news as editorialized entertainment with content controlled by funding corporations is that what was taken as satire over forty years ago can be seen as social commentary in 2018...Cranston gives a nervy, fully textured performance...Van Hove's sharp, vigorous staging fully matches Hall's rapid-fire text...A contemporary lens with which to view Chayefsky's exceptional work, giving it greater impact for today."
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Lighting & Sound America
December 18th, 2018

“’Network’ generates a video-and-sound show that obscures the people onstage, never mind the ideas of the script; as a result...with one exception, the production is neither well-cast nor particularly well-directed...The play's real drawing card is Cranston...’Network’ offers the pleasure of a star at the top of his powers...But stripped of its sound and fury and seen from the distance of four decades, much of 'Network''s satire seems pretty elementary."
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Talkin' Broadway
December 6th, 2018

"It all comes together beautifully. Until, puzzlingly, the production falls apart, loses its focus, and turns into another show altogether, a mildly '1984'-ish wannabe satire coupled with a soap opera detour that drags things down pretty much until the end...Cranston is, in a word, magnificent...Goldwyn, Maslany, and the rest of the cast do fine work, but their efforts generally are lost against the technical elements. Only Cranston's remarkably etched portrayal of Howard Beale rises to the top."
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New York Stage Review
December 6th, 2018

"The result is sensory overload. That, of course, may be (must be?) van Hove’s intent...van Hove’s allowing myriad distractions only obscures the ideas Chayevsky got across on screen...There’s another significant drawback: While creating his mirror-held-up-to-nature world, van Hove doesn’t appear to be paying any more than cursory attention to the actors and the acting. To his credit, Cranston runs quite an emotional gamut."
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New York Stage Review
December 6th, 2018

"Nothing about van Hove’s production works as well as the Cranston close-ups...There’s already so much commotion on stage...A couple rows of people eating shrimp rolls and empanadas seems like an unnecessary distraction. When Cranston is on, we’re completely tuned in. His Beale is a force...Only Broadway vet Nick Wyman matches Cranston’s intensity...But when you’re watching a grainy ancient Mazola ad instead of a live actor, the background noise is getting way too loud."
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Theater News Online
December 6th, 2018

"A strangely wan and out-of-step stage adaptation of the 1976 film. What was frighteningly prescient right before the Carter Administration now seems quaintly admonitory amid the manic, performative idiocy of the Trump era...As pure multimedia spectacle, it’s impressive. As drama, it works fitfully. There’s no denying the vigorous acting by Bryan Cranston and Maslany, who enliven every scene they’re in, and often rise above the digital noise of van Hove’s busy staging."
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Broadway News
December 6th, 2018

"van Hove’s hyperactive direction, with that giant screen drawing focus as it splinters into many smaller screens showing ’70s-era commercials, may be the ideal way of papering over the flaws in Chayefsky’s writing, namely his tendency to use his characters as megaphones to spout windy speeches...The adaptation by Lee Hall wisely discards some of the more absurdist feints of the movie...This drains some of the satirical edge from the material, but it’s probably a smart trade-off."
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TheaterScene.net
December 21st, 2018

"Ivo van Hove's stage version of the Chayefsky cult film 'Network' gives Cranston the role of a lifetime as Howard Beale, the UBS news commentator who has a nervous breakdown on air and then becomes a media messiah. The high tech production designed by long-time van Hove associate Jan Versweyveld with video design by Tal Yarden is riveting throughout its two hour intermission-less running time by putting the audience in the news studio and making us complicit in the action."
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Theater Pizzazz
December 6th, 2018

"The cast is downright sensational!...Other than a script that might need some trimming to eliminate repetition on a theme, 'Network' will hold you in a vise of straight forward and blunt veracity, and a feeling of powerlessness...It’s always an enlightening time when something we’ve seen so many years ago on the big screen punches you square in the stomach as current, truthful and frightening."
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CurtainUp
December 11th, 2018

“Cranston's Beale is mesmerizing...While Cranston and not Van Hove are the main reason to buy a ticket, Van Hove and Versweyveld's production certainly makes for an interesting and in many ways exciting and effective experience...There's no denying that Van Hove does have a way of adding sizzle and now-ness to everything he does. But he has gone way overboard with this insistently immersive presentation.”
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Front Row Center
December 10th, 2018

"Cranston’s Howard Beale is such a sustained wonder of a performance that he crowds out the rest of the cast. Director Ivo van Hove is fearless, rattling our cages with visual noise and a breakneck pace. Get a ticket...Still, no matter how intense the effects are — and in this production they are a startling commingling of then and now — it still comes down to the performance. Cranston remakes Beale from the inside out."
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Front Mezz Junkies
December 16th, 2018

"It’s devilishly brilliant in construct and design, formulating the studio wind up energy with a blood pumping authenticity...The play falters a bit midway through, loosing some of its time clock countdown adrenaline...The out front dramatics beamed in from outside slice us a bit too far from the emotional core, distracting us from the true cause, but as a piece of modern theater, Ivo Van Hove, and the brilliant craftsmanship of video designer Tal Yarden rises magnificently center stage."
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Exeunt Magazine
December 12th, 2018

“Cranston is mesmerizing...The ubiquity of the videos can at times feel like sensory overload. There were moments when it would have been fun to be given a breather...Goldwyn and Maslany are standouts. But their roles are far less compelling than Beale’s...The influence of television is the central theme but a montage of recent presidents not so subtly suggests – we are responsible for asking if what we see on screens can be believed.”
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T
December 21st, 2018

“The satire in Chayefsky’s iconic film transfers well to Hall’s adaptation...’Network’ addresses important themes and raises equally significant enduring questions...Van Hove’s innovative direction successfully places the outstanding cast as well as the audience in the ‘live set’ of a typical news broadcast. The ability to see Howard at the news desk as well as on screen and be able to hear all conversations is a magnificent feat.”
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Broadway Blog
December 12th, 2018

"Although set in the period of Chayefsky's original, it doesn't take much effort to view its themes as exponentially more pertinent now because of the Internet,…or to recognize its relation to the frustrations instigated by our media-obsessed president…Crowded with ideas (including a final diatribe about 'the destructive powers of absolute belief'), emotions, humor, and gimmickry…And, while Bryan Cranston's Beale may not blow his brains out, he's sure to blow your mind."
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C
December 6th, 2018

"His big breakdown scene is a master class of acting, saying more with facial expression than words, and his transformation into an overconfident eminence is equally remarkable. Standing center stage (as he often does), delivering one meaty monologue after another, Cranston is consistently mesmerizing."
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DC Theatre Scene
December 8th, 2018

"A largely humorless, tech-heavy adaptation...Cranston is the reason to see 'Network'...There aren’t that many other reasons...Broadway’s 'Network' is no longer satire. That is in large measure because Chayefksy...turned out to be prophetic...Video-intense production...Whatever point is being made about the loss of humanity is accompanied by an apparent loss of interest in the humans...only Cranston is allowed a three-dimensional performance."
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4Columns
December 7th, 2018

"About two-thirds of the way through 'Network,' comprehension dawns. Up to that point, a lot about the bells-and-whistles Broadway version of the 1976 movie has been irretrievably confusing—director Ivo van Hove has crammed every multimedia gimmick he can think of into it...We watch it in smash-zoom high-def on the back wall’s movie screen—largely ignoring Cranston’s world-caliber acting happening just in front of us...There’s not a lot to learn from this version."
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Gotham Playgoer
December 6th, 2018

"Seeing Cranston perform is the only thing that made the evening at all worthwhile for me. Everything else about the production is so overblown, so frenetic, so gimmicky and so disjointed that it wore me down long before it ended...Somewhere midst all the cacophony there’s a cautionary tale about the media that still resonates even though the media themselves may have changed...Go to see Cranston if you are a fan. Otherwise, just rent the movie."
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The Wrap
December 6th, 2018

"What’s different about 'Network' on stage, in addition to Cranston’s awesome portrayal, is Ivo van Hove’s very kinetic and immersive direction...The first hour of 'Network' is absolutely mesmerizing...But as with the movie, 'Network' on stage becomes overwhelmed by Chayefsky’s pontificating about the evils of modern society — and Hall isn’t a very judicious editor."
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Wolf Entertainment Guide
December 9th, 2018

“van Hove’s direction...is spot-on and exciting. Making the most of the star performance by the terrific Cranston, The director has done a spectacular job of staging this National Theatre production...What van Hove has accomplished is creating a lively, busy and frequently hectic television studio atmosphere...It all has a dynamic effect...There is some extra baggage that should be eliminated...Rising above even the best of the staging is the mighty performance of Cranston.”
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The Stage (UK)
December 6th, 2018

"The absolute genius of Ivo van Hove’s production is to give this a churning, gripping immediacy, as TV cameras swoop over the action and relay images to a giant screen centre stage and on smaller screens throughout the auditorium. And it is propelled by a searing, shatteringly committed performance from Bryan Cranston...That stage is slightly smaller than it was in London, but the impact is even more shattering."
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Stage Left
December 6th, 2018

“Ivo van Hove brings his signature style to an intense and intelligent stage production of Paddy Chayefsky’s prophetic 1976 film ‘Network’. An easy highlight of the Broadway season, Bryan Cranston gives a Tony Award-worthy performance as news anchor Howard Beale’s descent into a rage-filled demagogue. The message is the medium, and vice versa, in this technically brilliant and thrilling new drama.”
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Towleroad
December 6th, 2018

"We already know that Beale’s populist anxieties have become our living nightmare. What director Ivo van Hove’s slick but mostly soulless production fails to do is couch much of this in heart-pounding human drama, despite a deeply felt and characteristically robust turn from Bryan Cranston...Aside from the 'Breaking Bad' star’s visceral performance, most everything else about Van Hove’s production feels rather more hospitable to androids than human players."
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T
December 6th, 2018

"When do you really feel you are feasting on the meat and bones of the play?...Mostly when Bryan Cranston’s beautifully, near-perfectly-performed newscaster-turned-furious-prophet Howard Beale is speaking...Cranston’s performance is a wonder...There is one final glorious visual trick that confirms van Hove and Versweyveld as superior stage magicians—even if, with 'Network,' their box of tricks feels a little overstuffed. Bryan Cranston provides all the magic this production needs."
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Financial Times (UK)
December 6th, 2018

"The exposition gets slightly muddled towards the end as Hall trims a pivotal sub-plot...But the real story here is the overwhelming sense of spectacle crafted by van Hove and Cranston’s barnstorming performance. Reality may have outstripped Lumet and Chayefsky’s most pessimistic prophecies. But this 'Network' is still a compulsively watchable freak show."
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City Cabaret
December 15th, 2018

“Cranston's portrayal of Howard Beale is unconditionally the focus of a play that bludgeons the veracity of the news business and the malleability of TV viewers' judgment. The timeliness of the technology is striking while it focuses on now familiar manipulations of corruption, ratings, and financial manipulations...The play is most alive when Cranston is on stage...Cranston's dive into a man's soul is galvanizing...It is a thrilling performance as topical as this morning.”
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scribicide
December 16th, 2018

""The other characters-his best friend Max (Tony Goldwyn), his lover Diana (Tatiana Maslany)-are just as poorly drawn, and the result is eerily inhuman, even as the dehumanizing effects of technology seems to be one of the very subjects of the play. In other words, 'Network' reproduces the very phenomenon it is ostensibly challenging. It is a satire in which everyone seems angry except the writer."
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NewNowNext.com
December 10th, 2018

"Bryan Cranston is absolutely brilliant...The adaptation seems to have the characters speaking a little less floridly than in the movie to make them more concrete, though the bite and intelligence remain...Cranston leaves virtually everyone else onstage in the dust with his textured, rousing, and heartbreaking performance, but Goldwyn manages to project a world-weary lapse into immorality, while Maslany—while not possessed enough—mounts in outrage for a climactic turn of events."
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Newsday
December 6th, 2018

"Cranston is masterful in his raw depiction of a man coming apart before your eyes. With the always unpredictable director Ivo van Hove in charge, it's an electric staging, if tough to follow as the frenetic activity on Versweyveld's set jumps from center stage to the wings to the street in front of the theater (handheld cameras allow you to follow on the closest monitor). And it all gets too preachy at times, whenever Beale and corporate bigwigs get overly involved with their proselytizing."
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NJ.com
December 6th, 2018

"Inventive and often enthralling...Van Hove serves up one knockout visual flourish after another...van Hove and Hall haven’t updated or reimagined the material in any significant way...Yet even if this 'Network' doesn’t entirely hang together, it’s still a fabulous piece of entertainment, directed and performed with verve and showmanship. Just about every directorial choice here manages to be audacious without feeling show-offy."
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W
December 8th, 2018

"Ivo van Hove's production doesn't have much to say, though it's exciting to look at...Cranston, as Beale, is the ideal actor for this dual role, simultaneously playing to the live audience and to the camera. His descent is rapid, explosive, and transfixing — it's tough to look away...But his Howard Beale is still a cipher...Beale isn't someone we ever come to care about, and, unfortunately, that extends to all of the characters in the play."
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StageZine
December 10th, 2018

"There are two elements that strongly add to the proceedings: Ivo van Hove’s direction, which has the action constantly on the move as in a TV studio where everything is in flux; and the set by Jan Versweyveld, which shows all the fluctuations in such proceedings (from studios to multiple TV screens). As much as I loved Peter Finch in the movie, seeing Howard Beale portrayed live by Bryan Cranston giving one of the best performances of this decade is outstanding."
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The Clyde Fitch Report
December 6th, 2018

"Chayefsky’s grey-toned universe is one we live in, 40-plus years later. And van Hove doesn’t trust us to see that on our own...Expecting an audience to rely on their familiarity with source material is as slick as milking a madman’s ranting for rating...Yarden’s video design almost dances, but van Hove doesn’t trust that; he has it constantly echoing and competing with the action onstage...Perhaps the director’s idea is never to let the audience feel too comfortable in any medium."
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M
December 12th, 2018

“This production has so many flawed elements the result is a disastrous debacle...Cranston was not able to save this hodgepodge of a mess...I’ll place the blame on the indiscernible adaption by Hall...And his co-conspirator guilty of poor choices director Ivo Van Hove...The stage is overburdened with too many fractious moving parts...The relevance of social media...is all but distilled to a disjointed melodrama and sophomoric philosophizing...The play is in shambles."
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BSonArts
December 6th, 2018

“While the adaptation maintains the original period, the television equipment and the complex use of multimedia is very 2018...As expected, Bryan Cranston is phenomenal...Appropriately, the rest of the very good cast are overshadowed by Cranston’s persona...’Network' does not give us much guidance for getting out of our current situation, but it is an insightful (and entertaining) portrait of the problem.”
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Showbiz 411
December 6th, 2018

"Cranston gives the performance of a lifetime as Beale...There is so much going on onstage that it can be dizzying. But Cranston, as Beale, who’s supposedly unwinding into madness, is the sane center...Everyone in the show is top notch. Maslany is earthier than Faye Dunaway....Goldwyn has the suave mien of William Holden from the movie. So kudos to 'Network.' If only Chayefsky had lived longer."
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Vogue
December 7th, 2018

“This new ‘Network’ wants very much to make Beale’s ’70s-style rage about the rage of its audience members as well...This creative staging is dizzyingly effective...But there is something off about this leap of the 1976 script into 2018...In 2018, it’s hard to escape the fact that personal experience, collectively voiced, is one of the largest drivers of anger. ‘Network’ gets the power of the collective voice, but there’s something antiquated about its central mouthpiece.”
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F
December 14th, 2019

“This is a play that challenges you to think about where you put your attention, which in itself becomes a metaphor for the advertising-driven media world we live in...Cranston’s likely to be a contender during Tonys season...I’d say see ‘Network’ for that reason alone, but it would be nice if the show inspired audiences, particularly younger ones, to rediscover this relevant cautionary tale.”
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S
December 14th, 2018

“In van Hove’s maximalist, video-swathed production, the focused white-hot rage of the original is gone...The management of spectacle appears to have taken over all else...It’s a dazzling, but it ultimately proves the production’s undoing...The result is catastrophic...The only performer to emerge undefeated is Cranston...Yet there’s a disruptive quality to Cranston’s titanic turn...As a result, the sense of irony and tension around Beale is gone.”
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