"It sadly lacks the charm of a good noir and the kick of a great musical. It feels outdated and astonishingly boring."
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"The production is let down by pace, which feels oddly sleepy but there are gorgeous aesthetics and plenty of atmosphere to see us through."
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“...the show gives off dogged, clunky determination in place of actual inspiration. This ‘Third Man,’ I’m afraid, feels like a spare part.”
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“With a new war raging over the soul of Europe, this might have been a powerful dispatch from history. Instead, it desecrates an artistic great, unnecessarily vocalising a tale in which the silence was sacred.”
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“It’s debatable whether this version of The Third Man needed to be a musical, perhaps a straight stage adaptation might have worked better in places. But the music is good, and fans of the film will not be disappointed. “
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“While ‘The Third Man’ is admirable in its attempt to recreate film noir on the stage, it never quite manages to connect...its clumsy nature meant in its current form, it still has a way to go to solve the mystery of making the whole thing flow more satisfyingly.”
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“While ‘The Third Man’ undoubtedly benefits from its strong direction and captivating staging, it’s difficult to escape the feeling that this story might have been better suited as a play. The songs, although not inherently bad, don’t contribute substantially to the narrative or character development. This disconnect leaves the audience longing for more cohesion between the music and the story, hindering the overall impact of the production.”
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“This musical version... is neither a showy director’s piece nor is George Fenton’s score show-stopping...Nunn’s version suffers from an uneven pace and sometimes narrative repetition. But for all the show’s flaws, Greene might approve of this attempt at a ‘writer’s version’.”
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