Review: Good Night, Oscar (Barbican Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️⭐️

Cast your mind back to 2021 when Megan Mullally was announced to lead the revival of Anything Goes at London’s Barbican Theatre. Sadly, she had to pull out of the show before it opened, but skip ahead four years and one of her Will & Grace co-stars is appearing on that very stage as Sean Hayes reprises his Tony Award-winning role of Oscar Levant in Good Luck, Oscar. Would London audiences respond just as positively as New York ones did, ensuring a good night was had, and could Hayes turn his Oscar into an Olivier?

Premiering in Chicago in 2022 and transferring to Broadway the following year, Good Night, Oscar centres on a fictitious chapter in the life of famed actor, pianist, and wild card Oscar Levant. It’s 1958, and Oscar is appearing on Jack Paar’s live late-night talk show. Proving to be unpredictable in his previous appearances, this particular one promises to be even more risky, as Oscar is coming on day release straight from a psychiatric hospital. With Oscar’s favourite one-liner, “There’s a fine line between genius and insanity; I have erased this line,” forming the heart of the play, this promises to be one night of live television America will never forget.

I must admit not being overly familiar with Oscar Levant prior to seeing this play, but it is refreshing to see that neither was director Lisa Peterson. This allows for a story that is accessible to all, no matter what prior knowledge you have about Oscar’s life, personality, and career. The result is an astounding story, masterfully crafted by writer Doug Wright. Levant was famous for his wit, and this is matched in Wright’s writing, with some brilliant one-liners and laugh-out-loud moments peppered throughout a story with no shortage of heart as it attempts to get to the bottom of a tortured genius. The subject matter can prove intense at times, but this is sensitively handled, and the transitions from Levant’s fantasies into reality is a testament to the genius of both Wright’s writing and Peterson’s direction.

Running in a singular act lasting one hour and 40 minutes, I have rarely experienced time moving as quickly as it did during this play, so much so that I was shocked to see it had finished, and the running time was indeed correct. That is the power of a good play, and Good Night, Oscar is one of the very best. Splitting the action into distinct scenes taking place before Oscar’s arrival, in his dressing room before the live show, the show itself, and the subsequent fallout, this play never falters, keeping you on your toes as you experience one unforgettable evening almost in real time.

It is Lisa Peterson’s faultless direction that brings the magic of this story to life, with impeccable attention to detail given to the characterisations and movement, particularly that of Oscar himself, though in that case, that is the result of a beautiful marriage between Peterson’s direction and Hayes’s acting. Clever set design from Rachel Hauck merges the conflicting parts of Oscar’s world to resemble a TV studio and dressing room, in the middle of his own padded cell, signifying the parallels between Oscar’s time away from the spotlight in the psychiatric hospital and when he has to switch it on for the cameras, however volatile and unpredictable that might be.

Though the writing and direction in Good Night, Oscar are both as good as it gets, what sets this play apart from many of its counterparts is the lead performance from Sean Hayes. As a fan of his from his TV work, seeing him on stage had always been a bucket-list moment for me, and he certainly didn't disappoint. What Sean Hayes does with his characterisation of Oscar Levant is acting at its very best. His meticulous detail to Oscar’s nervous energy, mannerisms, and compulsive nature was thrilling to watch. Furthermore, Hayes delivered every choice with such believability, blurring the lines between acting and reality in a fitting comparison of Levant’s own fantasy world and reality getting mixed up. The way Hayes carries himself in this role made it impossible to take your eyes off of him in one of the strongest character performances I have ever seen in all my years of theatregoing. Hayes has already won a Tony Award for his portrayal of Oscar Levant. Based on what I saw tonight, I’d say he could now be the frontrunner in his category at next year’s Olivier Awards.

Sean Hayes is a man of many talents, as was Oscar Levant. With Levant a famed pianist, and Hayes himself more than adept at the instrument, there was a slow and tantalising build-up to the musical performance that comes towards the climax of the show. Having more than proven himself with his acting abilities in the play before this moment, Hayes showed his incredible talents are consistent in every aspect, delivering a phenomenal, prolonged piece on the piano. With all the chaos and conflicts that had been realised on the stage prior to this sequence, it brought a much-needed sense of harmony to the play, and proved to be jaw-droppingly beautiful and surprisingly emotive. A special mention must go to the lighting design from Carolina Ortiz Herrera and Ben Stanton, which is especially gorgeous during this magnificent sequence.

Hayes isn’t alone on that stage, however, with a stunningly good cast ensuring the talent never drops below a certain level, Rosalie Craig is on fine form as Oscar’s wife, June, rooting the story back into realism and keeping him grounded when he loses his way a bit in a confident and sympathetic performance. Ben Rappaport reprises his role from the Broadway production as TV presenter, Jack Paar, himself having a fantastic rapport with Hayes’ Oscar. The scenes between the two of them prove the most electric of the play, with the most chemistry on stage out of all the varying relationships.

It is no wonder that Good Night, Oscar was so well-received across the pond, and why it will inevitably get the same response in London. Here, you are witnessing people at the top of their game in Doug Wright’s writing, Lisa Peterson’s direction, and, most notably, Sean Hayes’ tour-de-force performance. If Oscar Levant was a genius, so too are these three incredible individuals, who together have managed to bottle lightning to create one of the greatest compositions I have witnessed on a stage in quite some time, in what is an incredible piece of art. In a week where a show about a famous composer failed to strike a chord, this was a very necessary reminder of how phenomenal theatre can be at its very best in what I consider to be one of the strongest plays of the year.

Good Night, Oscar plays at the Barbican Theatre until 21st September. Tickets from https://allthatdazzles.londontheatredirect.com/play/good-night-oscar-tickets 

Photos by Johan Persson