Breakfast at Tiffany's, Theatre Royal Haymarket | Review

Thursday, 7 July 2016

Lets start out by saying that Breakfast at Tiffany's at the Theatre Royal is not the same as the 1961 film starring Audrey Hepburn.

Unlike the film, this play sticks very closely to the novel by Truman Capote, therefore, the production, adapted by award winning Richard Greenberg is set in the 1940's as opposed to the 60's, automatically creating a different feel to the film we've grown to love.

The staging is brilliant, with the iconic Tiffany blue New York City skyline a constant throughout, changing seamlessly between scenes and flowing from bar to apartment wonderfully. Costume and set designer Matthew Wright has done a brilliant job designing each piece, not missing a detail on the idealistic Tiffany tinted stage.

All eyes are on Miss Lott and from when she takes the stage she commands it until the end. Barely being offstage, she really manages to embody the flighty seductress Holly Golightly throughout. There's no doubt Pixie can sing, but to me the songs felt out of place. Her raspy voice sounded beautiful but I felt that the songs had no relevance and were performed too like pop songs to fit the character.

Personally I found this a very wordy adaptation, lacking the comedic lines which came across so well in the film. Of course this shouldn't be a comparison to the film because if anything the stage show is more truthful with its influences coming so heavily from the book. But with a character and story as iconic as Holly Golightly's, its difficult to see such a different version. 

Without the glamour of the 60's, the story becomes darker and grittier; focussing on those trying to regain their balance after the Great Depression of the 1930's. Obviously the romance between Holly and Fred is the centre of the story but in my opinion its really about the American Dream: a deep tale of misguided idealism.

This production is beautiful, the wonderful lighting, sets and costumes really transport you through the seasons in New York but overall it seemed the performance was lacking something. Its only been open a few days in the West End so I'm sure in time everything will become more settled. Right now I would say this is definitely a jewel worthy production, but maybe not a Tiffany diamond just yet.

Book tickets to see this play for yourself here:

*tickets were provided by all views and opinions are my own