ARE YOU MAD
SUBMIT YOUR “MAD AS HELL” VIDEO FOR A CHANCE TO BE A PART OF NETWORK ON BROADWAY.
Click on the button below to submit your video to us. In your video, you should say:
“I’m mad as hell and I’m not going to take it anymore!”
You can also enter by posting your video on social media with the hashtag #MadAsHellBway.
In Paddy Chayefsky’s famous “Mad as Hell” scene from his original 1976 screenplay, he described a “gathering CHORUS coming from the huddled, black border of the city’s SCREAMING people, an indistinguishable tidal roar of human RAGE.” We will use some of the submitted images and videos to create a panoramic mosaic of people projected onto the set — a “tidal roar of human rage” that truly conveys the weight of Chayefsky’s plea.
A play like Network, set largely in a TV studio, requires a complex technical infrastructure. Network will incorporate dozens of screens, cameras and projectors to recreate a working TV studio with the show’s technical staff in full view and incorporated into the action of the play. We have been using these tools from day one in rehearsal and are creating an engaging, media-saturated world that reflects the world around us. We can’t wait for the audience to complete our vision.
Tony, Olivier, Emmy and Golden Globe winner Bryan Cranston (“Breaking Bad,” All the Way) makes his triumphant return to Broadway in the National Theatre’s sold-out, critically acclaimed production of Network.
In Lee Hall’s adaptation of Paddy Chayefsky’s Academy Award-winning film, anchorman Howard Beale (Cranston) unravels live on-screen. But when the ratings soar, the network seizes on its newfound prophet, and Howard becomes the biggest thing on TV.
Cranston won the 2018 Olivier Award for his tour-de-force performance. Tony and Olivier winner Ivo van Hove (A View From the Bridge) directs this brilliantly innovative and electrifying production, also starring Tony Goldwyn (“Scandal”) and Emmy Award winner Tatiana Maslany (“Orphan Black”). Ben Brantley of The New York Times raves, “Network thrills. It feels as pertinent to our time as it did to its own.”