“Dead Accounts,” the Broadway play starring Katie Holmes, had its official opening Thursday night (Nov. 29), after which the reviews started rolling in.
They’re not great.
For the most part, reviewers praised Holmes’ co-star, Tony winner Norbert Leo Butz, and said Holmes herself did fine with her role as a 30-something Cincinnatian whose brother (Butz) has come home after some shady business in New York.
The play itself, however, doesn’t get off as easily. Here’s a sampling of reviews of “Dead Accounts,” written by “Smash” creator Theresa Rebeck:
“Holmes is insanely miscast but sunnily game in the role of a ground-down never-was with body-image issues and a crater where her confidence should be.” [Vulture]
“‘Dead Accounts’ is, I think, meant to be about the inflation of the superficial in a materialistic society, and the attendant, unsatisfied craving for belief. … But the play never follows through convincingly on any of its ideas.” [New York Times]
“[Holmes is] 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.” [LA Times]
“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.” [AP]
“[Holmes’] character, Lorna, remains mostly reactive until the second act. But Holmes animates her with an appealingly fresh stage presence. The play, however, suffers from the same shortcomings that often cramp the theater work of Rebeck. … ‘Dead Accounts’ is all surface polish and minimal depth.” [Hollywood Reporter]