In her pre-opening interviews, costume designer Colleen Atwood was a bit defensive (or maybe competitive) with the Givenchy/Edith Head/Audrey Hepburn triumvirate that gave us the best black dress and pearls combo in film history .
“Did any of Audrey’s film looks inspire the looks we’ll see on stage?
This play is not about Audrey—it is about Emilia [Clarke]. We are doing something quite different. As great as the movie is, we have seen it. So it’s nice to move on.”
Oops! The reviews are in and Holly Golightly was wrong. Something very bad can happen to you at Tiffany’s.
( “The quietness and the proud look of it; nothing very bad could happen to you there. If I could find a real-life place that’d make me feel like Tiffany’s, then – then I’d buy some furniture and give the cat a name!”-HG)
From the New York Times: “Holly Golightly does not. Go lightly, that is. The new stage adaptation of “Breakfast at Tiffany’s,” Truman Capote’s beloved portrait of a glamorous waif in 1940s New York, moves with a distinctly leaden step, as if it dreaded what might be waiting around every dark corner of the sinister city it portrays.
There are a couple of party scenes that throb with the unease of people working overtime to make you believe they’re having fun. The star of the first of these is a big orange tabby (selected from a much-publicized casting call) that, when I saw the show, leapt out of Holly’s arms and into the wings before the festivities really got started.
That cat exuded an enviable air of devil-may-care independence as it zipped off the stage. Maybe it should have played Holly. In any case I knew I wanted to go wherever that cat was going.”–NY Times