You have a preview view of this article while we are checking your access. When we have confirmed access, the full article content will load.
Years before “Will & Grace,” Hayes was a classical pianist. In the new Broadway play “Good Night, Oscar,” he returns to the piano to portray a famously troubled musician and witty guest of late-night TV shows.
Sean Hayes at the Steinway Hall showroom in Manhattan. “The mental health issues are in my family,” Hayes said. “Addictions are in my family. I thought, maybe I can wrap my head around this thing. As an actor, that’s what we do.”Credit...Luisa Opalesky for The New York Times
Supported by
SKIP ADVERTIsem*nT
The version of Sean Hayes who arrived at a Midtown Manhattan rehearsal space on a Wednesday morning last month was the one everyone knows from his years as a television star on the series “Will & Grace” and as an entertainer. The effervescent Hayes tossed off a quip about the perceived snobbishness of the Hamptons. (“It’s like Shake Shack,” he said. “Anybody can go. It’s not that fancy.”) With similar ease, he sat at a piano and played a few measures of “Rhapsody in Blue.”
But the Hayes who a short while later entered through the door of a set made to look like a 1950s-era TV dressing room was markedly different. His eyes were squinted and his posture was hunched. He occasionally twitched his head or shook his hands. He spoke with the defeated voice of a jowly man, sometimes dropping a one-liner (“Gee, I wonder who died,” he said, contemplating the flowers in his room) and sometimes becoming so vehement that his face turned red and a vein bulged from his neck.
This is how Hayes alters himself to play Oscar Levant, the pianist and raconteur, in the new Broadway play “Good Night, Oscar,” which opens on April 24 at the Belasco Theater. Levant, who died in 1972, was as renowned for his interpretations of George Gershwin’s music and his roles in films like “An American in Paris” as he was for his dyspeptic appearances on TV game shows and talk shows, jesting ruefully about his struggles with mental health and prescription drug addiction.
The play, written by Doug Wright and directed by Lisa Peterson, imagines Levant on a fateful day in 1958 when he has finagled his way out of a psychiatric hospital to be interviewed on Jack Paar’s “Tonight Show.”
Beneath its Eisenhower-era period details, “Good Night, Oscar” sets out to comment on enduring ideas about the burdens of celebrity and creative genius. Whether it succeeds will depend largely on Hayes’s ability to embody the dour Levant, a sort of public neurotic who may no longer be familiar to contemporary audiences.
Image
Advertisem*nt
SKIP ADVERTIsem*nT
