Good Night, Oscar
There's a fine line between genius and insanity; I have erased this line
Why see Good Night, Oscar?
Anything can happen on live TV
As brilliant as he was troubled, Oscar Levant's genius has become the stuff of legend, despite the fact it was also his downfall. Now explored in this new play by Doug Wright, Sean Hayes steps on the Goodman stage as titular Oscar, embodying the mordant comedian, actor, pianist, and wildcard as he makes an unforgettable appearance on Jack Paar's Tonight Show in 1958.
Known initially as a concert pianist and composer, it was Levant's acid-laced witticisms that truly bought him to public attention, betraying his own demons within. A regular on the late-night circuit and radio panel games of the time, his frank approach to his own neurosis gained him fans and an influence that still continues to this day.
Reviews
Customer reviews
11 reviews, average rating: (4.9 Stars)
Diane Weist
OSCAR YOU DEFINITELY WILL MEET TONY
Simply delicious, delightful and timely. Each member of the seven person onstage cast and its two voiceover actors connected in perfectly parsed repartee that captured the FRESH essence of Doug Wright's play as directed by Lisa Peterson.
And what a pianist in Sean Hayes who gave us a concert, comedy, and acting all in one show.
Theatre needs more original plays such as " Good Night, Oscar" rather than the stereotypical revivals.
The lights on Broadway are destined to present "Good Night, Oscar" with numerous Tony's.
And for those of us here in Chicago we can say we saw it first.
Kudos. Kudos. Kudos.
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Rita
Amazing Show
What an amazing performance from Sean Hayes and the entire cast. A very sad yet humorous story that Hayes does an incredible job delivering His talent will blow you away. I highly recommend it. ... Read more
Ann Boland
“Good Night, Oscar†written by Doug Wright, directed by Lisa Peterson, starring Sean Hayes, produced by The Goodman Theatre
People of a certain age (old) remember Oscar Levant as the acerbic side-kick in movie musicals, the quick-witted panel member on TV game shows, and the concert pianist know for interpreting the music of George Gershwin (Levant’s contemporary who died in 1937 at age 38). As he aged and waxed and waned in popularity, his mental illness became his trademark. He had pronounced tics, shaking hands, a wobbly walk. He was addicted to cigarettes, alcohol, and prescription drugs. During his lifetime, and still today, there is no cure for schizophrenia. The drugs, though producing a calming effect in the mind, debilitated the body. He was a mess, but a polymath with a brilliant mind and an amazing wit.
Jack Parr was the TV late night star personality on NBC in the early 60s. The play is based on Parr’s exploitation of Levant’s “off the rails†persona to grab ratings. It’s one Tonight Show, from LA, an admirable constraint for the roller-coaster of events on stage. Levant is released on a four-hour pass from Mt. Sinai Mental Health Center to his wife’s care, accompanied by a hospital aide carrying a medical bag of emergency drugs. And the action begins…
Sean Hayes (Oscar Levant) has left behind his various TV characters—he is Levant. Brilliant performance.
Emily Bergt (June Levant) embodies the loving, hating, frustrated wife. Her costume by Annie Le is stunning—early 60s Dior at its best.
Peter Grosz (Bob Sarnoff, head of NBC) is sufficiently snide and menacing as he tries to control Parr and later Levant.
Ben Rappaport (Jack Parr) is a conniving, undermining buddy to Levant, but could add depth to the character by using more of Parr’s physical mannerisms and vocal pattern.
Ethan Slater (Max Weinbaum) is a perfect suck-up fan boy to Levant as he preps guests for Parr’s show.
Tramell Tillman (Alvin Finney, the hospital aide) plays it straight, challenged but not overwhelmed by his manic charge.
John Zdrojeski (George Gershwin) looks like a much handsomer Hugh Hefner slinking around in a silk dressing gown. He shows no empathy to Levant’s problems—because he is a schizophrenic apparition.
We saw the fifth preview of this premier production. It was polished, though much will be tightened as it inevitably goes to Broadway. The crown jewel of the performances is Hayes playing a totally manic version of Rhapsody in Blue. Yes, folks, he is actually playing it. Show-stopping. See Good Night, Oscar if you can get a ticket.
annboland.com/blog
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