Breakfast at Tiffany's *

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For me, the most interesting part of this production takes place before it begins: huge photographs of New York in the 1940's and wartime propaganda posters are projected on the main panel of the set. Even this is muddled though -- instead of projecting them on a plain background where they could be clearly seen, they are superimposed on a projection of the Manhattan skyline with glass towers not built until decades later. I'm afraid it's downhill from there. Richard Greenberg's adaptation hews much more closely to Capote's novella than the sanitized Hollywood film did, but he includes long stretches of narration that quickly become tiresome. The first act moves at a snail's pace. Neither Emilia Clarke as Holly nor Cory Michael Smith as Fred has much charisma, although (gratuitous nudity alert!) they do look nice together in a bathtub. George Wendt is an understated Joe Bell, the bartender, but the rest of the cast perform much too broadly. Things improve in the second act, but by then it's too late to save the day. Derek McLane's scenic design morphs effortlessly from one setting to the next and Colleen Atwood's costumes are appropriate. Sean Mathias's direction seemed muddled. Running time: 2 hours, 25 minutes, including intermission.

The Whale **

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I wish I could join the chorus of praise for Obie winner Samuel D. Hunter's strange new play at Playwrights Horizons, but I found it thoroughly muddled and disagreeable. In it we meet Charlie (the superb Shuler Hensley), a 600+ lb. man who is eating himself to death in his apartment in northern Idaho. During the course of a week, he is visited by his nurse and devoted friend Liz (Cassie Beck); his ex-wife Mary (Tasha Lawrence); his estranged 17-year-old daughter Ellie (Reyna de Courcy), who has to be the most obnoxious character to grace a New York stage this year; and a mysterious Mormon missionary, Elder Thomas (Cory Michael Smith). We learn that Charlie left his wife and infant daughter for a male lover many years ago.  Charlie blames the Mormon Church for his lover's subsequent death and has been eating nonstop ever since. He supports himself by teaching an online expository writing course for the local university. We hear occasional snippets of his exchanges with students. Periodically there are references to Moby Dick and the story of Jonah. Between scenes we hear the symbolic pounding of the ocean. Unfortunately there are plot developments that make absolutely no sense, e.g. Liz's applying lipstick to Charlie. What first impressed me as fascinating soon became tedious and I found myself looking at my watch several times. The uncomfortable seats in the Peter Jay Sharp Theater did not help either. Mimi Lien's set and Jessica Pabst's costumes are admirable. Davis McCallum's direction is assured. Running time: I hour, 50 minutes without intermission.

Cock ****

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The sensationalistic title of this British play by Mike Bartlett, now in previews at the Duke, may sell tickets, but it ill serves the play by coarsening audience expectations. Those who arrive expecting nudity and graphic sex will go home disappointed. The actors remain fully clothed and physical contact between them is sparing. In the play's sexiest scene,  the only body parts to touch are foreheads. The plot revolves around John (Cory Michael Smith), a youngish gay man who is tired of being a trophy boy and who, during a brief split from his longtime lover "M" (Jason Butler Harner), meets and begins an affair with "W" (Amanda Quaid), a divorcee. Vacillating between his two lovers, John is finally forced to choose at an awkward dinner at which the three are joined by M's father "F"(Cotter Smith). The staging contributes greatly to the play's impact. A five-row wooden circular arena fills The entire Duke Theater. There are no sets or props and the house lights remain on. The short scenes are punctuated by an electronic tone. The actors are like combatants in a high-stakes competition. The rapid-fire dialogue is voluminous and often very funny. The acting is simply superb, reason enough to see the play. Never have I seen American actors so comfortable with British accents. James Macdonald, who directed the Olivier-winning Royal Court production, does an outstanding job. The ending will probably satisfy no one, but that almost doesn't matter. The play raises complicated issues and treats them both intelligently and humorously. Running time: 95 minutes without intermission. Warning: the stadium-style seating has no seat backs and only a thin foam cushion. If your back needs support, get a seat in the last row.