chain forward {
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The Broadway version aims to preserve this dynamic, underscored by the repeated pleas from the female tellers for someone to pacify an agitated Sal. Yet this iteration of Sal never conjures the same clammy sense of peril. Looming in shadows, watching the tellers chat over pastries, he ought to be intimidating. But a crucial element is absent. Maybe it’s the added backstory meant to humanize him, or the brightly lit, literal bank set that lacks the oppressive heat and unease of Lumet’s direction. But Moss-Bachrach also appears rigid and uninspired on stage. Compounding the issue—or reducing the tension—Sonny has been stripped of his edge.