GOOD NIGHT, OSCAR – Written by Doug Wright; Directed by Warren Sherrill. Produced by Miners Alley Performing Arts Center (1100 Miners Alley, Golden) through November 8th. Tickets available at 303-935-3044 or Minersalley.com.
What is a rhapsody? “An effusively enthusiastic or ecstatic expression of feeling.” This also described the exhausted excitement of audiences leaving the Miners Alley Theatre after witnessing the triumphant achievement of David Nehls and friends in performing GOOD NIGHT, OSCAR. A backstage story that explores the pressure of performing and the unrelenting need to overcome that pressure.
Oscar Levant (David Nehls) is a gifted pianist and composer in the midcentury years, appearing in hit MGM musicals and composing movie scores. He became a colleague of George Gershwin during their time together in Hollywood, which led to a friendly competition over their musical achievements. By the time of the events of this script, Gershwin had passed away in 1937 at the age of 38 from a massive brain tumor. But Gershwin (Matthew Combs) remained a mental competitor and stimulus, continually prodding Levant to do better, to do more.
Released under shady circumstances from the rehab facility he was in for his addiction to prescription drugs, Levant prepared to appear as a guest on the late-night Jack Parr (Drew Horowitz) show. Accompanied by a reluctant male nurse (Jozeph Mykaels) and bolstered by his wife June (Lisa DeCaro), he is berated by NBC executive Bob Sarnoff (Matthew Murry) to avoid certain topics. Goaded on stage by Parr, he, of course, steps into the trap and falls back on the crude, offhand, shocking humor he was known for. But a final act of bravery and hope redeems him.
You wouldn’t think an evening that revolved around a short interview on a talk show could generate so much tension. But the high stakes for this appearance grow and grow. The repartee is sharp; the music is stunning; the situation is replete with drama. Everyone in this situation has an “I Want,” but they are hard to come by in this scenario.
Mathew Murry, as the cynical arrogant head of NBC, has his own agenda and is furious that Oscar flew in under the radar. Matthew’s slicked back hair and debonair appearance is perfect. But he is belittling, hateful, and slightly terrified of what Oscar might do on the air. It’s gratifying to know that his personal life went downhill shortly after this time and he ended up a broken man. As June Levant, Oscar’s wife, Lisa DeCaro wears both her halo and boxing gloves. She’s ready to take on anyone, say anything to protect her man. But she’s still unsure if she’s doing more harm than good. Her matronly, almost Midwestern, demeanor hides the heart of a tigress where Oscar is concerned.
Levant’s nemesis and good friend, George Gershwin, is given a debonair and polished portrayal by Matthew Combs. His sparkly, heavenly tuxedo is a startling method to show his power over the inner life of Levant. In a most loving way, he goads and challenges Oscar the most by his sheer invisibility. Only Oscar can feel the weight of Gershwin on his back. But Drew Horwitz as Jack Parr brings a heavy second load with his sly compliments, his constant looking at his watch creating invisible timelines, his insistence on Oscar playing the piano as a finale, knowing his hesitancy. Cal Meakins brings humor to the green room as Sarnoff’s showrunner. He’s caught up in a no-win” One Man, Two Guv’s” sort of situation, unable to please either one. Jozeph Mykaels is the only totally sensible, down-to-earth, genuinely caring person in the room is Alvin, the nurse who has been tasked by the hospital with keeping Oscar on track and back on time. Caught in a dangerous (for him with the probability of him losing his job) situation, he too is faced with nearly impossible choices to make. But he remains relatively calm and focused on his patient when all around him are losing their minds. Joseph’s position as “eye of the storm” is a welcome break in this maelstrom of emotions.
But this is David’s show – front and center. He owns the stage from the moment he is delivered on the set by car from the rehab facility. He hides his fear and unsteadiness under a facade of humor, offhand cutting remarks, and cajoling to get what he wants (usually a pill or two). He is afraid of losing his place in his family, his celebrity status, the love of his wife, but, most of all, his ability to perform on the piano. His final bow to Gershwin is a riveting performance with the chaotic tempos, exhausting chord patterns, grandiose sweeps of music typical of Gershwin at his best and played rhapsodically by Nehls.
Jonathan Scott-McKean has been attached to Miners Alley longer than anyone can remember. He may have been born in the green room, for all we know. But he continually designs and builds some of the most thoughtful, creative sets with wildly different needs for Miners Alley, with an army of builders behind him. The other usual technicians at Miners include Crystal McKenzie on costume, Vance McKenzie on lights, John Hauser on sound, and Sammy Piel on props. Len Matheo and Warren Sherrill have created a strong and consistent crew for Miners Alley.
A WOW factor of 8.75!!