Review: ‘Good Night, Oscar’ a fantastic night at Goodman

Oscar Levant may not be as familiar an Oscar as Hammerstein II, a grouchy Muppet, Mr. Mayer or even Oscar Madison from Neil Simon’s “The Odd Couple.” But “Good Night, Oscar,” the outstanding play making its world premiere at the Goodman Theatre in Chicago with Emmy Award-winner Sean Hayes (“Will & Grace”) as Levant, may well change that. A play isn’t eligible for an Oscar, but don’t be surprised if this “Oscar” receives multiple Tonys when, as expected but not yet announced, it goes to Broadway. With countless laugh lines and a dramatic storyline, there should be a long line clamoring to get into this must-see.

First, a bit of background on Levant. In “A Talent for Genius: The Life and Times of Oscar Levant,” a biography by Sam Kashner and Nancy Schoenberger, “at the height of his power, Oscar Levant was the highest-paid concert artist in America,” with a “wit and eccentric personality” on radio, film and TV that were “as fascinating to the public as were his superb renditions of George Gershwin’s piano works.” He was an actor (in the Gene Kelly classic “An American in Paris” and “The Band Wagon”), radio quiz show panelist (“Information Please”), composer (movie soundtracks and “Blame It on My Youth,” a jazz standard), and nonstop wit whose quotes decades ago sound like things Steven Wright, Bob Hope or Don Rickles might say:

• “Roses are red, violets are blue, I’m schizophrenic, and so am I.”
• “When I can’t sleep, I read a book by Steve Allen.”
• “Once I make up my mind, I’m full of indecision.”

Unfortunately, Levant also eventually became addicted to prescription drugs and dealt with mental illness and hallucinations.

The events of “Good Night, Oscar” showcase all of these sides of Levant, thanks to a smart script by playwright Doug Wright, whose book for the musical “War Paint” with Patti LuPone and Christine Ebersole was a past pre-Broadway highlight at the Goodman. As “Good Night, Oscar” opens, NBC late-night talk show host Jack Paar (Ben Rappaport) and NBC-TV network president Bob Sarnoff (Peter Grosz) are in Paar’s office debating the wisdom of having Levant as a guest that evening, the first night of a string of live broadcasts in Los Angeles. (Paar’s show typically aired from New York.) Levant hasn’t arrived yet, and it’s only a couple hours before showtime. Gofer Max Weinbaum (Ethan Slater), Sarnoff’s nephew, is a huge fan of Levant’s, even parroting some of his witticisms.

When June Levant (Emily Bergl) arrives, she tells Paar privately that Oscar isn’t with her, but he’ll be coming. He’s just coming from Mt. Sinai, not their home, since she committed him a month earlier. She got the hospital’s head doctor to give Oscar a four-hour pass to ostensibly attend a daughter’s important school event when, in fact, he’ll be coming to the studio with an orderly, Alvin (Tramell Tillman), as his reluctant chaperone.

“He reveres you,” June tells Jack, and “he needs a thousand faces staring at him.”

Paar isn’t sure Oscar will be up to it, but the unpredictability of what Oscar might say or do persuades him to go forward with the show as is, while not giving Sarnoff any further reason to have Xavier Cugat as a substitute guest.

When Oscar does get to his assigned dressing room, his obsessive-compulsive behavior, hallucinations (his frenemy, the late George Gershwin [John Zdrojeski], appearing prominently in them), need for drugs, and humorous asides (“Brooks Brothers makes a swell straitjacket”) keep the audience alternately gasping, laughing and caring about his mental state. When Sarnoff explains before the show that Levant needs to stay away from “uncomfortable” subjects like politics, religion and sex, June defends her husband: “You don’t book a zebra, then [complain] about its stripes.”

To put it simply, I loved this show. Under the direction of Lisa Peterson, this seven-person cast is outstanding. Hayes gives a tour-de-force performance that alone is worth the price of your ticket, a mid-show standing ovation being well-earned. Rachel Hauck’s set design made me think I was at NBC in the 1950s, the huge sound studio feeling like a sanitarium’s padded cell. The lighting design by Caroline Ortiz Herrera and Ben Stanton ably assists in helping us feel Oscar’s internal agony.

Will Oscar be able to keep it together on national television? Will he offend the sensitivities of the audience and Sarnoff? Will his genius shine through in interview and performance segments, or will his mental fragility suffer? Tune in, because this “Good Night” is actually a great evening.

[Show is appropriate for ages 14 and older due to mature themes. It runs one hour and 40 minutes with no intermission. Proof of vaccination is required for all guests, and masks are required.]

• Paul Lockwood is a singer, local theater actor, Grace Lutheran Church (Woodstock) and Toastmasters member, occasional theater reviewer, podcaster, columnist and past president of TownSquare Players. He’s lived in Woodstock for over 20 years.

IF YOU GO

WHAT: “Good Night, Oscar”

WHERE: Goodman Theatre, 170 N. Dearborn St., Chicago

WHEN: Through April 24

INFORMATION: www.goodmantheatre.org/Oscar