Goold tries to pull the audience into the excitement by casting them as the external crowd. Performers dressed as officers dash through the aisles, prop guns in hand. Those in the upper seats participate when Ortiz appears in the balcony, delivering lines through a megaphone. To his credit, the audience at my showing eagerly joined in the call-and-response with Bernthal’s Sonny, roaring at his shouts of "Fuck Rockefeller! Fuck Nixon! Fuck the NYPD!" and "Attica! Attica!" Still, this felt like surface-level theatrics, leveraging Bernthal’s magnetic appeal rather than the chaotic allure of Sonny as a folk anti-hero.
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