The Broadway version aims to preserve this dynamic, underscored by the repeated pleas from the female tellers for someone to pacify an agitated Sal. Yet this iteration of Sal never conjures the same clammy sense of peril. Looming in shadows, watching the tellers chat over pastries, he ought to be intimidating. But a crucial element is absent. Maybe it’s the added backstory meant to humanize him, or the brightly lit, literal bank set that lacks the oppressive heat and unease of Lumet’s direction. But Moss-Bachrach also appears rigid and uninspired on stage. Compounding the issue—or reducing the tension—Sonny has been stripped of his edge.
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波罗的海地区乌克兰白俄罗斯摩尔多瓦外高加索中亚
近日，该公司宣布发现该员工在职期间存在不当获取客户信息的行为。
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构建"智能经济新生态" 中国物流迈入智慧化轨道