Sean Hayes Shines in GOOD NIGHT, OSCAR at the Barbican

Sean Hayes has returned to the London stage with a commanding turn in GOOD NIGHT, OSCAR, which opened this week at the Barbican Theatre. The play, written by Doug Wright, first premiered in Chicago in 2022 and moved to Broadway the following year, earning Hayes a Tony Award for Best Actor. London audiences are now seeing the same electrifying portrayal of pianist, wit and Hollywood raconteur Oscar Levant that dazzled critics across the Atlantic.

Running at a rapid 100 minutes with no interval, the production recreates a 1958 taping of The Tonight Show hosted by Ben Rappaport as Jack Paar. Levant’s scheduled appearance spirals into a tense, darkly funny exploration of celebrity, genius and mental illness. Hayes inhabits Levant’s mercurial temperament with remarkable physical precision, capturing the pianist’s sardonic humour and fragile psyche in equal measure. Even in the frenetic atmosphere of a television studio set, designed with period fidelity by Rachel Hauck, he commands unwavering attention.

The supporting cast is similarly polished. Rappaport reprises his Broadway role, volleying effortlessly with Hayes in rapid-fire exchanges, while Rosalie Craig lends warmth and steel as June Levant, navigating the fine line between support and self-preservation. An ensemble of studio staff and medical professionals rounds out a tight company that never loosens its grip on the pacing.

Wright’s script balances sharp comedy with unsettling insights into addiction and mental health treatment in mid-century America. For UK theatregoers less familiar with Levant’s legacy or the specific nuances of American late-night television, the cultural references may not always land with full force. Nonetheless, the narrative provides enough context to keep the stakes clear, and Hayes’ magnetism bridges any historical distance. His extended piano sequence late in the play is as riveting dramatically as it is musically.

GOOD NIGHT, OSCAR succeeds as both character study and industry snapshot, illustrating the cost of entertainment tinged with personal turmoil. Director Lisa Peterson keeps the momentum high, ensuring that comedic sparks never dim the underlying pathos. The result is a production that feels simultaneously nostalgic and urgently contemporary, shining a light on the pressures surrounding public figures and the private battles they fight.

Tickets for the limited Barbican engagement are on sale now, and given the strength of this transfer, demand is expected to be high. Theatre lovers searching for a masterclass in performance will find few better opportunities this season.

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