If ever there was a play that needed to grab your attention from the start, it’s Good Night, Oscar. This new bio-play by Doug Wright, starring the talented Sean Hayes as the once-famous Oscar Levant, does its best to introduce this forgotten icon to modern audiences. But does it succeed? That’s up for debate.
Oscar Levant was a gifted pianist and occasional actor, but he’s best remembered for his witty and controversial talk-show appearances in the 1950s and ’60s. He paved the way for the likes of Gore Vidal, Truman Capote, and Phyllis Newman, but Levant was the original.
But before you dismiss him as just another forgotten celebrity, remember that even those with fleeting fame can have fascinating stories. Wright, Hayes, and director Lisa Peterson are convinced that Levant’s life deserves to be told, but Good Night, Oscar falls short of convincing.
Levant made a name for himself as a pianist, interpreting the music of his friend George Gershwin. He also appeared in films like An American in Paris, The Band Wagon, and Humoresque. But it was his late-night TV appearances that truly made him a Golden Age sensation. Levant’s quick wit, self-deprecating humor, and candid confessions about his addictions and mental health struggles captivated audiences. He was a man on the edge, making even Jack Paar seem stable by comparison.
Some of Levant’s witticisms have stood the test of time. He famously said he knew Doris Day before she was a virgin and that beneath the phony tinsel of Hollywood is real tinsel. But while these one-liners might have entertained on a talk show, they don’t quite hold up as dialogue in a play. Good Night, Oscar tries hard to present Levant as a Lenny Bruce-like figure, but it often feels like a vehicle for Hayes to show off his acting chops.
The play takes place backstage at Paar’s Tonight show, where Levant anxiously awaits his guest appearance. This time, however, Levant has just been released from a mental ward and is armed with a four-hour pass. His wife June, played by Emily Bergl, does her best to keep up appearances, but the truth is bound to come out. Paar is supportive, but NBC executive Bob Sarnoff is clueless about Levant’s struggles.
Even before Levant takes a handful of tranquilizers, we know his Tonight appearance is a ticking time bomb. He tells a controversial joke about Marilyn Monroe and delves into topics like politics, mental health, drugs, and religion – all the things Sarnoff warned him to avoid.
Throughout the play, Levant is haunted by hallucinations of Gershwin, a constant reminder of his own insecurities. Levant is determined to prove himself as a talented musician, and he plans to do just that on Tonight. But it’s a bit strange when Hayes finally sits at the piano and plays “Rhapsody in Blue.”
Good Night, Oscar is an intriguing exploration of a forgotten icon, but it falls short of its potential. With a talented cast and creative team, it’s clear that Levant’s story is meant to be compelling. However, the play often feels like a showcase for Hayes rather than a fully realized biography.
Title: Good Night, Oscar
Venue: Broadway’s Belasco Theatre
Director: Lisa Peterson
Playwright: Doug Wright
Cast: Sean Hayes, Emily Bergl, Marchánt Davis, Peter Grosz, Ben Rappaport, Alex Wyse, John Zdrojeski
Running time: 1 hr 40 min (no intermission)
