""We started to build a palette months ahead of being in the theater to keep that '70s, gritty New York feel," sound designer Cody Spencer says. "I paid attention to what was being played on the mainstream and college radio at the time. What were people hearing in Brooklyn in 1975?""
"While Spencer was left to his own devices to answer that question, playwright Stephen Adly Guirgis specified in his script that Bowie's music should be prevalent. "Queen Bitch" is joined by "Moonage Daydream" to close the first act, while "Aladdin Sane" punctuates all the action in Act Two."
"Two Marvin Gaye songs, "Inner City Blues" and "Trouble Man," further enhance the pressure-cooker environment inside the bank, and a few transitions are even set to avant-garde jazz."
"One cue, "I Zimbra," by Talking Heads, was selected despite being an anachronism due to how good Jon Bernthal strutted to it. "We did look the other way on that one," Spencer admits."
The Broadway adaptation of Dog Day Afternoon incorporates a significant musical element, featuring songs that enhance the narrative's gritty New York feel. Sound designer Cody Spencer curated a selection of tracks from the 1970s, including David Bowie's "Queen Bitch" and Marvin Gaye's "Inner City Blues." The music plays a crucial role in setting the tone, with avant-garde jazz and other tracks punctuating the action. The adaptation has received mixed reviews, but the music has been consistently praised for its impact.
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