Emmy and Tony Award-winner Sean Hayes (Will & Grace) brings his acclaimed, Tony Award-winning performance to the Barbican this Summer in Good Night, Oscar – direct from a critically acclaimed Broadway season.
It’s 1958, and Jack Paar hosts the hottest late-night talk-show on television. His favourite guest? Character actor, pianist, and wild card Oscar Levant. Famous for his witty one-liners, Oscar has a favourite: “There’s a fine line between genius and insanity; I have erased this line.” Tonight, Oscar will prove just that when he appears live on national TV in an episode that Paar’s audience—and the rest of America—won’t soon forget.
Full of humour, with an unmissable, virtuosic performance from Sean Hayes, Good Night, Oscar masterfully explores fame, artistry, and the fragility of genius. This strictly limited one time seven-week summer season at the Barbican will sell out quickly – advance booking is strongly advised.
Hayes inhabits his role so completely and with such detail that he’s equal parts mesmerising and painful to watch. He nails flawlessly the fluttering hands and slack-jawed terror of a person living on their very last nerve, the obsessive-compulsive tics that make sense to him but nobody else, the acidic wit as self-deprecating as it is mean (“I’m controversial, they either dislike me…or they hate me”). It’s a stunning performance that reaches its apotheosis in the production’s ultimate coup de theatre: like Levant, Hayes is an accomplished concert pianist and, at the show’s climax, he plays a driven, enthralling version of Gershwin’s “Rhapsody In Blue” that seems to represent Oscar channeling and exorcising all his demons at once.
Director Lisa Peterson’s production is sturdily reliably in the early expositional scenes, but really takes flight when the dividing line between reality and Levant’s worsening mental state begins to dissolve. There’s a grippingly feverish quality to how Rachel Huack’s dressing room and studio sets end up sharing stage space. Privacy no longer exists with cameras turned on couches. It's fragmentary and frantic – culminating in a truly virtuosic piano performance by a spotlit Hayes, who looks agonisingly at his own hands as if they belong to a stranger. It’s hauntingly powerful and the apex of this funny and devastating play.
| 2021 | Regional (US) |
Goodman Theatre's Premiere Production Regional (US) |
| 2023 | Broadway |
Original Broadway Production Broadway |
| 2025 | West End |
West End |
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