Lombardi, a new American play from Academy Award-winning playwright Eric Simonson, is based on the best-selling Vince Lombardi biography “When Pride Still Mattered”, by Pulitzer Prize-winning author David Maraniss.
Sport produces great human drama and there is no greater sports icon to bring to theatrical life than a man recognized not only as one of the greatest coaches of all time, but one of the most compelling and oft-quoted individuals in American pop culture in the 20th century. Though football’s Super Bowl trophy is named for him, so few know the real story of Vince Lombardi the man – his inspiration, his passion, and ability to drive people to achieve what they never thought possible. In a time when people continue to look for shortcuts to success, his story demonstrates that hard work, discipline, respect and time are the crucial elements to victory.
Swigging Pepto-Bismol, a handsomely grizzled Lauria looks very much like the squat, paunchy Lombardi and easily assumes the coach's thundering ways. Often very funny, yet poignant, Judith Light creates a wry, poker-faced Marie whose wisdom shines behind an alcoholic haze. Always a dynamic actor, Keith Nobbs lends McCormick a strong sense of urgency (plus a hard-edged Jersey accent that sure doesn't sound like Bergen County to my Oradell-bred ears). Easygoing Bill Dawes is very much a sporty golden boy as Paul Hornung, solidly backed by Chris Sullivan and Robert Christopher Riley respectively as teammates Jim Taylor and Dave Robinson.
There is one scene that offers a genuine clash of ideas and personalities. Star running back Jim Taylor wants to have his agent represent him in salary negotiations. Taylor legitimately demands a piece of the game's ever-increasing profits, while the tradition-bound Lombardi bristles at the notion of a 'goddamn gutter-crawling' middleman getting between him and his players. Two worthy opponents who believe in their positions are locked in a dramatic conflict. It's strongly played by Dan Lauria, as the coach, and Chris Sullivan, as Taylor. But it's a rare highly charged moment in the middle of a Biography Channel–like documentary. Director Thomas Kail does little to increase the action, save for having David Korins' set revolve as a substitute for theatrical movement.
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