The Facts: “Act One” is a Broadway play, based on Moss Hart’s memoir, written and directed by James Lapine, starring Santino Fontana, Tony Shalhoub, Andrea Martin among many others, presented by Lincoln Center Theater at the Vivian Beaumont Theater.
What I thought:
A love letter to the theatre, incredibly staged, with excellent performances, although may only appeal to theater insiders.
The name Moss Hart won’t mean anything to the average person, but at one time, he was nationally famous, having written his landmark theatre memoir “Act One” in 1959, the cap to a legendary career, having practically invented the American comedy with his long-time collaborator George S. Kaufman, and later directing “My Fair Lady” where he shaped Julie Andrews Pygmalion-like into giving a starmaking performance as Eliza Doolittle. Others--as ancient as me—may be more familiar with his wife, Kitty Carlisle Hart, who was a fixture on “To Tell the Truth” and “What’s My Line”.
Now comes the stage adaptation of “Act One”, written and directed by James Lapine (“Into the Woods”, “Sunday in the Park with George”, “Falsettos”), presented at the Vivian Beaumont Theatre in Lincoln Center. Whereas for-profit theatres can sometimes scale down their cast and sets to maximize profits--such as with the recent “Driving Miss Daisy” starring Vanessa Redgrave, James Earl Jones and Boyd Gaines which used a bench and a steering wheel for Daisy’s car--non-profit Broadway theatres often do not stint on these aspects. And here, the set is truly epic, although the cast of 22 is still required to double- and triple-up because of the large number of characters. Depending upon the viewer, they might be confused as to why Tony Shalhoub plays Moss Hart’s father, then Moss Hart’s collaborator George S. Kaufman and also Moss Hart himself as an older man, while Andrea Martin plays three characters, as well.
In any case, I didn’t find it confusing due to the considerable talents of the entire cast (and having seen Andrea Martin play Edith Prickley, Perini Scleroso, Lorna Minelli among so many others on "SCTV"). Part of what helps is the continually rotating set by Beowulf Boritt on the largest turntable I’ve ever seen, ringed with multiple levels representing a theatre, apartment building, Kaufman’s home, theatrical agent’s office, among other settings, which gives distinct environments for these characters to inhabit. However, this makes it a bit nervewracking as the actors navigate off and on the turntable and up and down stairs without hurting themselves.
There is much story to tell here, although in essence it concerns Moss's impoverished Bronx upbringing and his unlikely but eventual rise to the top of Broadway. His Aunt who put on the airs of a Duchess, encouraged him to skip school to attend shows despite the fact his parents were supporting her and had to sleep on makeshift beds while taking in boarders to make ends meet. Interestingly, the 1963 movie of “Act One” starts with Moss Hart waking up in a very middle-class bedroom of his own. Apparently, much of “Act One” is the invention of Moss Hart with the truth somewhere between the lines. (And sidenote: Moss Hart was apparently gay, despite being married, but any whiff of sexuality or a love life is not touched-upon in the show.) Whatever the facts, the story of a Bronx boy making good is a great story. With inexhaustible chutzpah, Moss pushes his way into the theatre world, first working as an office boy for a producer and eventually taking over as secretary, then writing a play in a few days when his boss can’t find anything good to produce, then picking himself up when the play is staged and fails. No matter how many setbacks, he continues on when so many others would have given up. The play ends with his play “Once in a Lifetime” a success on Broadway which allows him to move his family out of their meager circumstances.
Santino Fontana, last seen as the Prince in Broadway’s current production of “Cinderella”, is adorable. There’s no way else to put it. Someone else playing this may have appeared too pushy, deluded in their self-belief about their talents, but Santino invests you in his drive to be a success. Tony Shalhoub is perfect as George S. Kaufman, the ticky playwright who plucks Moss out of obscurity to help rewrite Moss’s play “Once in a Lifetime”. There’s definitely a “Monk”-ness about Kaufman, who recoils from handshakes, washes his hands obsessively, and is meticulous to a fault. Shalhoub also creates a distinct manner for Moss’s British-born father, although his third character, an older Moss Hart seems a bit tacked on since he isn’t given much to do or say. It was reported that the play was much longer and cut down considerably in previews, so that may explain this. I have no shortage of love for Andrea Martin and she doesn’t disappoint here, memorably playing three characters as well, with the pretentiousness of Moss’s Aunt, the American gusto of Moss’s agent, and the graciousness of Kaufman’s wife all coming through vividly.
James Lapine’s script and direction, with the help of the massive rotating set, condenses the story and keeps it moving, while bringing the characters and the times beautifully alive. He’s sharing his love for a world he knows well.
Although I share this love as well, “Act One” might be too inside for the average person to enjoy. Maybe that’s why this could only be presented through a non-profit, where money is still a great concern, but where slumming movie stars and jukebox tunes don’t have to be the first consideration.
