Good Night, Oscar at Barbican Theatre
The Emmy and Tony Award-winning Sean Hayes – known to many for his role in television’s Will and Grace – is the latest US star to cross the pond. He brings his Broadway smash Good Night, Oscar to the Barbican, and thanks to a phenomenal lead turn, is welcomed with open arms.
You’d be forgiven for not being familiar with Oscar Levant. In fact, even director Lisa Peterson was unaware of the American entertainer who was prominent throughout the 1940s and 50s. A pianist primarily, Levant was also an actor and comedian and became a regular on the television talk show circuit. Known for his pithy and provocative one-liners and eccentricity, he was inevitably very much in demand by TV executives. This is the main area of focus for writer Doug Wright, who not only seeks to celebrate this unique individual but also cast light on the all-too-relevant exploitative nature of the television industry.
Wright’s play takes us to a television studio, with a sublime set courtesy of Rachel Hauck and Emilio Sosa’s considered costume design, indicative of the 50s setting. It’s 1958 to be exact, and Levant has been permitted to leave a psychiatric unit for several hours due to a previously agreed commitment to appear on Tonight Starring Jack Parr. While Levant’s unashamedly open musings on mental health might be embraced – even celebrated – today, they were seen as somewhat scandalous and contentious at a time when men, in particular, kept such thoughts and feelings bottled up.
The one hour and 40 minutes sans interval inevitably brims with laugh-out-loud moments thanks to Levan’s many one-liners and Hayes’s masterful delivery. Beneath the bright lights of the studio, however, Wright is interested in the tortured genius residing behind the entertainer’s mask. While the themes of mental illness and addiction, as well as the misogyny of the time, are no doubt intense, the writing always pulls it back from becoming too dark. This is a truly multifaceted portrait of a complex man. It’s a dream role for an actor and Hayes more than manages it, making the character his own and – in one show-stopping moment, which garners great and deserved applause – performs Rhapsody in Blue on piano. It’s more than clear to see why the actor received such acclaim in his New York run.
Hayes has excellent support in Ben Rappaport as host Jack Paar. The actor is well into his stride in the role, which he also performed in the Broadway run. Exuding a playful charisma, you can see he takes delight in stirring the pot as he throws taboos and provocations at his guests in the hope great television moments will be made. Rosalie Craig also impresses as June – Levant’s long-suffering wife who, despite his behaviours, remains by his side.
The concept of celebrity culture and celebrities’ craving for the camera, contrasting with their yearning for privacy, is so well executed here. As the lights shine brighter on Oscar, one can see he so desperately wants to crawl into the shadows. He is perhaps one of many who set out to be appreciated for their art, only to instead become revered for regularly appearing on formulaic talk shows that merely care about their ratings.
Peterson capitalises on Wright’s taut, tense and wonderfully controlled script. It makes for a thoroughly engaging evening, offering us something fresh and unique in an already excellent year for London theatre.
Jonathan Marshall
Photos: Johan Persson
Good Night, Oscar is at Barbican Theatre from 31st July until 21st September 2025. For further information or to book, visit the theatre’s website here.
Watch the trailer for Good Night, Oscar at Barbican Theatre here:
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