Murphy’s Law (what can go wrong, will go wrong) upends the plan of 3 bank robbers reduced by one who is high on drugs, forgets a shot gun and leaves in a panic literally sh&tting his pants, while apologizing for being unable to do any of what Sonny (Jon Bernthal) asked him. Also, he didn’t bring the getaway car, but took the subway instead. If this isn’t the makings of a gonzo, botched, bank heist, it just may be the makings of a riotous play. However, don’t compare it to the film it is based on.

Sonny can’t believe that the evacuating Ray Ray (Christopher Sears) dumped their well-made plans into the toilet. Indeed, what other situations will be turned over in the Broadway premiere of Dog Day Afternoon at the August Wilson Theater running through July 12, 2026? Directed by Rupert Goold (Ink), Stephen Adly Guirgis (Pulitzer-prize winning Between Riverside and Crazy) wrote the script. He based it on the article “The Boys in The Bank” written by P.F. Kluge and Thomas Moore, published by Life Magazine, and the titular Warner Bros. film directed by the impeccable Sidney Lumet. The production softens the film’s tension and danger and adds humor that provokes raucous laughter.

I’ve resisted the temptation to compare the urgency and depth of the iconic 1975 film with this production that leans heavily on irony and humor to convey a wild situation in a 1972 New York City, itself under siege. More enlightened critics have drawn contrasts and found the play seriously wanting. Judging from the audience’s response the night I saw the production, Adly Guirgis and Goold succeeded in creating a vehicle for friends Bernthal and Moss-Bachrach (TV series The Bear) who elucidate Sonny and Sal with their exceptional talents. They emphasize the “haywire” in a bank heist inspired by real events.

Gould and Adly Guirgis have kept the setting of Brooklyn, 1972 with a few updates in ideas and language (oligarchs substituted for the rich). However, the tone of the play is vastly different from the film which critiqued the social issues looming throughout the decade and became a landmark for cultural reform by creating sympathy for its LGBTQ characters. In this production Sonny’s wife is played convincingly with humor and pathos by Eseban Andres Cruz to reveal Sonny’s explosive relationship and foreshadow the inevitable conclusion.

In light of the state of the world’s particular horrors, the play’s memorializtion of that time in a deteriorating New York City becomes eerily soothing. The tone that borders on farce feels safe. We can look at a less problematic time where decency abides. It’s in the character of Detective Fucco (John Ortiz), and Colleen (Jessica Hecht) and security guard Mr. Eddy. And it’s reflected in Sonny. Ironically, the sinister, cynical, cold cruelty of the FBI’s Sheldon (Spencer Garr) reflects today’s cynical law enforcement. Overall, the production succeeds with its sometimes riotous approach, sterling performances by Bernthal, Ebon Moss-Bachrach, Hecht, Ortiz, fine ensemble work, and period set, lighting, great music selections and sound design (David Korins, Isabella Byrd, Cody Spencer).

The set design features a revolving stage which effects the exterior 1972 bank facade on the streets of Gravesend, Booklyn. The stage swivels to the bank’s interior of teller’s stations, seating area adjacent to the office manager’s desk and a view into the vault upstage.This set design effectively engages the audience when Sonny steps outside to address the crowd in the play’s most theatrically satisfying moment. Outside the bank Bernthal’s Sonny dynamically, humorously chides the cops. He invites the crowd (audience members) to participate, rousing their enthusiasm. Various passages of Adly Gurirgis’ seminal writing resonates for us today as Sonny’s works the crowd who identify with his truth.

Cops in the audience aisles point their guns at Sonny while he says, “All this show of force — all this shit — it ain’t for me! They don’t need a whole army of blue bozos to put two in the back of my head — bag me, tag me — this is for you people! Make no mistake. They wanna scare you!” As we cheer him on, Hecht’s Colleen encourages him with the word “Attica!” which he shouts arms raised in remembrance of the prisoners and hostages who unjustly were shot by law enforcement in the 1971 riots.

The one-off jokes arise from the situations that Gould pulls off with fine pacing. Bernathal explores Sonny’s vitality, electric energy and sociability as the mastermind manipulator who thinks on his feet, corrects what goes wrong as it happens, all the while capitalizing on helpers like flirtatious older Colleen who becomes a friend. She is LOL when she decides it’s more fun to stay behind though Sonny offers her the chance of being the first released hostage. Ironically, the other tellers joke amongst themselves that the one least liked should go first. This is the most adventure they’ve had in their lives. Clearly, they believe Sonny when he repeatedly assures them no one will die, a statement that runs counter to what Sal and Sonny privately agreed to.

Because of the light-handed approach, there is a reduction of the overall tension and danger which essentially has been left to the character of Sal (Ebon Moss Bachrach) to convey. Additionally, Sonny and Sal are pitted against the dark, insulting Sheldon and Feds as the enemy, a current theme today. Moss Bachrach thoughtfully portrays emotionally broken Sal as the former convict with PTSD from his prison experiences. His attendant nihilism has left him with two bad choices: worse crimes (Sonny’s hair-brained robbery) or suicide vengeance, taking others with him. Even though Mr. Eddy was accidentally shot when Ray Ray dropped the gun, having guns in an armed bank robbery in which a security guard was shot, means more prison time that Sal tells Sonny he won’t do.

As circumstances progress, the more the charismatic Sonny shines socially even creating a weird Stockholm Syndrome effect with Colleen (Jessica Hecht), the more Sal loses the bond he thought he formed with Sonny. Abruptly, Sal ends Sonny’s love fest. With an edgy brutality he stomps out the congenial atmosphere and stomps on the donuts that John Ortiz’s Detective Fucco gets them. It’s an important moment when the fun stops and the audience are reminded of what he is capable, though Sonny might not be as desperate.

When Lorna (Wilemina Olivia-Garcia) tries to calm him with a Boston creme doughnut, we are frightened when he says, “I’m not your friend. He’s not your friend. And this — this ain’t no fuckin’ picnic, got it?” We realize Sal has chosen and will probably stir that choice unless the congenial Sonny with his positivity and charisma convinces him to calm down. Sal’s speech to Sony about his speaking “words” in a manipulation resonates with power. He’d like to believe Sonny about a helicopter escape, but he can’t because he knows all too well Sonny is a con artist and his words don’t ring true.

Dog Day Afternoon runs 2 hours 15 minutes through July 12 at the August Wilson Theater, Manhattan; dogdayafternoon.com.