“Good Night, Oscar,” by Doug Wright, explores the life of a pianist who became famous as a witty guest and host of midcentury radio and television shows.
It was two decades ago when a friend first suggested to Sean Hayes that he consider playing Oscar Levant. He still remembers his reaction: “Who the hell is Oscar Levant?”
Levant, he quickly learned, was a pianist who in the mid-20th century became famous for the mordant wit he displayed as a guest and host on radio and television talk shows, but had a life that was challenged by struggles with mental health and addiction. When another friend suggested Hayes think about Levant as a character, he got serious — watching archival footage, reading Levant’s books, and imagining some kind of performance.
There were detours along the way — at one point, Hayes hoped to play Levant in a Steven Spielberg movie about George Gershwin, but the movie never happened — though the suggestion led to an idea which led to a script which led to a production, and next spring that show, called “Good Night, Oscar,” is coming to Broadway with Hayes in the leading role.
“If I had nothing to do with this show, I would be absolutely enthralled with this human being that is Oscar Levant — he’s just incredible,” Hayes said in a telephone interview. “I’m just surprised how famous he was, and now nobody knows who he is. So another thrill for me is to reintroduce him to people, because he deserves to be remembered.”
The show, by Doug Wright, had a first run earlier this year at the Goodman Theater in Chicago, where the Chicago Tribune critic Chris Jones raved about the play, and about Hayes.
“It’s a stunner of a lead performance: moving, empathetic, deeply emotional and slightly terrifying,” Jones wrote. “Once this show arrives on Broadway, as it surely will, Hayes’ work here will be the talk of New York. So will the show, a piece with enough guts to take on the you-must-not-offend-me crew that now seems to run an industry actually founded on creative freedom.”
The play, directed by Lisa Peterson, is scheduled to begin previews April 7 and to open April 24 at the Belasco Theater. The lead producers are Grove Entertainment (Beth Williams and Mindy Rich) and Barbara Whitman.
Hayes, 52, is best known for his starring role on the television show “Will & Grace” (he played Jack). He has appeared on Broadway twice previously, scoring a Tony nomination in 2010 for his work in a revival of the musical “Promises, Promises,” and then in 2016 starring in a return engagement of the comedic play “An Act of God.”
Hayes said he and Levant, although quite different in many ways, share traits that make the role interesting.
“I know how it feels to have performance anxiety when playing piano — that was my major in college, I studied for 20 years, I thought I was going to be a conductor and a concert pianist, and that didn’t work out, and it didn’t work out for Oscar either,” he said. “It worked out that he was second banana in a bunch of movies, and I think I’m perceived as that even though the dream is always to lead and not follow.”
And there’s more, Hayes said.
“I don’t have any drug addiction, like he did, but the anxiety — I’m riddled with it, and some of the depression I have, so that’s kind of interesting,” Hayes said. “It’s just a dream come true for an actor to play a character with so many different facets and levels to him — you wish every part that you ever played in your life was as colorful.”
Wright won both a Tony and a Pulitzer in 2004 for his play “I Am My Own Wife,” and he has written the book for four Broadway musicals, including “The Little Mermaid” and “Grey Gardens.” Wright also happened to be the screenwriter for the unproduced Spielberg film about Gershwin, who for a time was a close collaborator with Levant.
“The Chicago run was exhilarating — we learned that Oscar’s humor isn’t dated, that it still feels topical, that it still has the power to shock and delight, and that, as one of the first historical figures to openly talk about his own battles with mental illness, we found audiences really responded to not only his humor but his vulnerability, as well,” Wright said.
“One reason he has been so interesting to explore in the moment is he provokes a lot of questions about the role of humor in a culture — and, when a culture is under siege, what role can humor play,” Wright said. He added, “What are tenable subjects for humor, and doesn’t humor have a certain duty to, at times, rile and offend and invite change?”
Source: Television - nytimes.com
