When we first learned that Katie Holmes was taking on Broadway in the play Dead Accounts after her split from Tom Cruise, we cheered. While she'd played a supporting role in All My Sons, this was her first starring role, and we wanted her star to shine oh so brightly. We wanted it to be her big in-your-face, revenge move that would send her career soaring and him standing in her dust.
So as the play opened this week, anticipation has been running high. Will she deliver the performance that makes us all want to cheer for her for so many reasons? Not exactly, according to reviews. Here are a few excerpts from some of the big ones. In general, I'd call them lukewarm:
From the Chicago Tribune:
Holmes was struggling vocally Wednesday night and generally lacks sufficiently expansive definition, but, in the few moments of actual revelation, she finds some poignancy in her relationship with her character.
From the Washington Post:
Holmes relies too much on a whiny teenage angst and a guilelessness that worked on TV but lacks nuance onstage. That said, she does generate two of the biggest cheers in the play — one for pulling out a cheap box of wine from the fridge and the other for an anti-bankers rant that sounds like it could come from an Occupy Wall Street protester.
From the Los Angeles Times:
This isn't to suggest that Holmes' acting is only skin deep. She's charming, natural and, yes, about as fresh-faced as a moisturizer model. But there's only so much that can be done with a Rebeck play that has more topical urgency (greed, ethics and banking funny business) than dramatic finesse.
From the New York Times:
Let me assure you that Ms. Holmes, who was a tad unsteady in her Broadway debut four years ago in Arthur Miller’s “All My Sons,” appears much more at ease playing a worn-down country mouse to the hyped-up city mouse of Mr. Butz. Gamely unkempt and lumpen, Ms. Holmes suggests what might have happened to Joey Potter, the ultimate girl-next-door she once portrayed on TV in “Dawson’s Creek,” had she never found true love or left town.
Not horrible, but also not the great hurrah we all wanted. But just because the reviews aren't glowing that doesn't mean Katie doesn't deserve a huge Bravo! And it should be noted that most of the reviews have problems with the play itself, so it doesn't seem to be her acting as much as the material that's preventing reviewers from raving. In any case, however, I'm not sure the reviews matter nearly as much as we wanted them to.
Since splitting from Tom, Katie has moved on with dignity, class, and determination. She and Suri seem happy, well-adjusted in New York, and they're moving on together with a new ease and confidence. While a huge Broadway success would have been nice too, I don't think she needed one nearly as much as we wanted it for her.
What do you think of the reviews of Katie Holmes' Broadway performance?
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