Unhappiness made Oscar Levant a laugh riot. Sean Hayes carves a portrayal in a marble of suffering

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Unhappiness made Oscar Levant a laugh riot. Sean Hayes carves a portrayal in a marble of suffering
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In 'Good Night, Oscar,' Sean Hayes finds anguished reality in a vintage Broadway sitcom.

), the painful source of this humor is exposed. Levant, portrayed in all his hobbled hilarity by Sean Hayes, becomes the subject of an unusual Freudian case study.

Quips are delivered but the only one who isn’t laughing is Levant, whose entire body seems weighed down by an inner gravity. Hayes never lets us forget that the curmudgeonly wag being entertainingly outrageous is receiving electroshock treatments. Ratings may be all any of the suits at NBC care about, but Paar is not about to water down his content. As he explains to NBC President Bob Sarnoff , he needs guests who “treat chit-chat with all the daring, all that danger of a high-wire act.”

Wright, who wrote the book for the musical “Grey Gardens,” is operating on a reduced scale. The play traffics in TV tropes and formulas. The stakes are artificially inflated so that we’re meant to believe that the future of independent television, and not just Levant’s well-being, are on the line with this perilous broadcast.

“Good Night, Oscar” provides a vehicle for Hayes to be snappy and tragic. Ironically, his performance is the least sitcom-y thing in the production. The weight of Levant’s mental illness comes through with powerful monotony. This condition isn’t a costume that can be discarded at will.

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