How to Succeed in Business Without Really Trying
Harry Potter star Daniel Radcliffe makes his musical debut in the role of J. Pierrepont Finch, a corporate-climbing onetime window washer.
Al Hirschfeld Theater
212) 239-6200
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
**
Forget about the title—in Daniel Radcliffe’s musical debut, it’s clear that the 21-year-old Harry Potter star “is really trying,” said Adam Feldman in Time Out New York. Radcliffe gives “everything he’s got” to the role of J. Pierrepont Finch, a corporate-climbing onetime window washer. But while the young actor’s earnest commitment to singing, dancing, and delivering punch lines will please his many fans, it also limits the effectiveness of his performance. This 50-year-old Frank Loesser musical, for all its candy-colored verve, has a sharply “cynical edge” that requires the lead to possesses “a demonic spark of self-assurance.” It’s a quality that Radcliffe lacks. When he stands in front of a mirror singing “I Believe in You,” Loesser’s great “self-love song” sounds more like “a pep talk.”
Actually, Radcliffe’s “ingratiating manner” suits the show, said David Rooney in The Hollywood Reporter. Finch has to keep audiences on his side even while being underhanded, and the “cherubic innocence” that Radcliffe’s Finch projects makes it believable that his boss, played by John Larroquette, would put faith in him. Unfortunately, the chance to judge Radcliffe’s merits might be the “only reason to see the show,” said Ben Brantley in The New York Times. The 1961 book is still rock solid, the songs are “wonderful, of course,” and director Rob Ashford keeps things moving “nimbly enough.” Yet the production as a whole has no sensibility “to call its own.” It’s the kind of “charm-free revival” that challenges anyone to care whether or not it succeeds.
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
Trinidadian doubles recipe
The Week Recommends 'Dangerously addictive', this traditional Caribbean street food is the height of finger-licking goodness
By Rebekah Evans, The Week UK
-
Labour and the so-called 'banter ban'
Talking Point Critics are claiming that a clause in the new Employment Rights Bill will spell the end of free-flowing pub conversation
By Richard Windsor, The Week UK
-
Andor series two: a 'perfect' Star Wars show
The Week Recommends Second instalment of Tony Gilroy's 'compelling' spin-off is a triumph
By Irenie Forshaw, The Week UK
-
If/Then
feature Tony-winning Idina Menzel “looks and sounds sensational” in a role tailored to her talents.
By The Week Staff
-
Rocky
feature It’s a wonder that this Rocky ever reaches the top of the steps.
By The Week Staff
-
Love and Information
feature Leave it to Caryl Churchill to create a play that “so ingeniously mirrors our age of the splintered attention span.”
By The Week Staff
-
The Bridges of Madison County
feature Jason Robert Brown’s “richly melodic” score is “one of Broadway’s best in the last decade.”
By The Week Staff
-
Outside Mullingar
feature John Patrick Shanley’s “charmer of a play” isn’t for cynics.
By The Week Staff
-
The Night Alive
feature Conor McPherson “has a singular gift for making the ordinary glow with an extra dimension.”
By The Week Staff
-
No Man’s Land
feature The futility of all conversation has been, paradoxically, the subject of “some of the best dialogue ever written.”
By The Week Staff
-
The Commons of Pensacola
feature Stage and screen actress Amanda Peet's playwriting debut is a “witty and affecting” domestic drama.
By The Week Staff