“What was I thinking when I made this deal?” So sings Holly Martins (Sam Underwood) towards the end of the new musical adaptation of “The Third Man.” Indeed. As it turns out, the mystery at the hea…
to imagine that what Carol Reed’s still-astonishing classic film needed was to be taken offscreen and planted onstage with added songs. The dismaying production provides no answer.
Having scored more than a hundred films, composer George Fenton knows how to make atmospheric underscoring count. He ratchets up moments of tension with tremolando strings and, for the first-act climax reveal of Harry, borrows four fortissimo bars that echo the film’s celebrated, chart-topping zither theme . And, it being Vienna, a song of regret is presented in the rhythm of a Viennese waltz.
Overall, the songs feel shapeless with uncertainty growing as to where choruses lie and, more worrying, failing to make a case as to why they are replacing dialogue.
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