GOOD NIGHT, OSCAR Reviews — Page 2

For me, it’s less about Green being out of step with other critics and more about how he says things and what he objects to. He has a very straight-laced and even at times prudish streak and often will fixate on things he finds unseemly and end up tossing the baby out with the bath water.

(I also think he often missteps in reviews of shows about people of color, which then causes him to overcorrect and handle other shows with kid gloves).

Updated On: 4/25/23 at 09:42 AM

This is something Sam Eckmann just said in the Gold Derby message boards: "Good Night, Oscar is not the type of play many critics go for these days. But people who are actually in the industry (aka Tony voters) are VERY high on it, especially for Hayes." He mentioned before nominations were announced last year that people within the industry liked MJ way more than the critics did. That show ended up receiving 10 bids overall, won 4 awards, and probably came in second to A Strange Loop for Best Musical. If Good Night, Oscar has a similar trajectory this year, we should all pay attention to what he hears more often.

Jeffrey Karasarides said: "MayAudraBlessYou2 said: "In any case, I don't think any review could stop Sean Hayes from winning the Tony at this point. He is sublime and checking off every single box when it comes to winning awards. Plus, his biggest competition is from closed shows. And, critics aren't Tony voters!"

Actually, a handful of critics are Tony voters, only if they're members of the New York Drama Critics Circle. Also keep in mind that voters have to log productions they've seen throughout the season into a portal system. Although new rules were applied to this year where if a voter only missed one nominee in any category, they'll be given a pass and vote anyway. But if they missed more than one, then they won't be allowed to vote. So Sean Hayes wouldn't necessarily 100% benefit from potentially being the only nominee who's show is still running. It's gonna be interesting to see how much of this year's Best Lead Actor in a Play nominees will be from closed shows and how many voters got to see all but maybe one of them."

Yes I know. A handful. So they are not a meaningful block of voters. None of them are nominators. Most of the critics weighing in with negative opinions on this play are not deciding the Tonys. And I'm aware of the portal. I mentioned that his competition is from closed shows because Hayes will benefit from recency bias. Pierce and McKinley Henderson were amazing, but its been many many months since their plays closed. Hayes has more momentum because he's coming in at the end of the season, in a role tailor made for awards, and will be fresh in people's minds.

If the critics decided the Tonys, Idina Menzel never would have been able to win for Wicked (which most critics didn't care for).

Jeffrey Karasarides said: "This is something Sam Eckmann just said in the Gold Derby message boards: "Good Night, Oscar is not the type of play many critics go for these days. But people who are actually in the industry (aka Tony voters) are VERY high on it, especially for Hayes." He mentioned before nominations were announced last year that people within the industry likedMJway more than the critics did. That show ended up receiving 10 bids overall, won 4 awards, and probably came in second toA Strange Loopfor Best Musical. IfGood Night, Oscarhas a similar trajectory this year, we should all pay attention to what he hears more often."

Thanks for this. This is SO interesting. And it feels like the absolute truth.

MemorableUserName said: "For those furious with Jesse Green...at least Rex Reed loved it! I haven't seen him gush over something this much since...Beanie in Funny Girl!



Review: Sean Hayes Is a Miracle In ‘Good Night, Oscar’

Hayes is busy as a freeway and entertaining without pause in his sensational portrayal of Oscar Levant in one of the few Broadway shows that unimpeachably deserves its tumultuous standing ovation.

https://observer.com/2023/04/rex-reed-theater-review-sean-hayes-good-night-oscar/"

Yikes. Would’ve been better if he panned it.

Kad said: "For me, it’s less about Green being out of step with other critics and more about how he says things and what he objects to. He has a very straight-laced and even at times prudish streak and often will fixate on things he finds unseemly and end up tossing the baby out with the bath water.

(I also think he often missteps in reviews of shows about people of color, which then causes him to overcorrect and handle other shows with kid gloves)."

Im not saying youre wrong here, I havent noticed/thought about it, but the examples I can think of where Green was cold to a popular production are Company, Prima Facie and Oscar. None can be considered shows where race plays a role.... just curious what youre referring to.

Can anyone help with seating advice for this? Would Rear Orch (under the overhang im sure) be prblematic? What about extreme sides of orch or mezz?

What is the running time?

PipingHotPiccolo said: "Can anyone help with seating advice for this? Would Rear Orch (under the overhang im sure) be prblematic? What about extreme sides of orch or mezz?"

If I am looking at the stage, which one has a better view: side left orchestra or right side orchestra?

TaffyDavenport said: "House left, for the piano playing."

Thank you. Is House Left the same thing as my left?

saw this today. Hayes really is giving an absolute master class performance here; his piano recital alone was a sight to behold (and received a loud, sustained, standing ovation from an appreciative audience). its an award-worthy turn. but so was wendell pierce's. so was corey hawkins'. what a year.

that said, its a frustratingly weak play. it has a few funny lines, but the entire first half is sloooooow. I know absolutely nothing about Lavant, and instead of showing us who he is, we are told in awkward summaries TO oscar here and there. a fatal mistake. and since we meet Lavant in the throes of his mental illness, thats all we see of him. which Hayes renders brilliantly but its not enough really to tell a full story. I hate to do drive from the backseat with 20/20 hindsight, but if they're going to drag me to imaginary conversations with Gershwin's ghost, why not have Lavant snap out of the moment and show us some witticisms or performances from his past?

The rear-orchestra discount seats are worth grabbing. We paid $85 to sit in Row L towards the left; the seats next to us were double that and we saw everything fine. Not sure why these producers are resisting TDF--- lots of random empty seats here and there in the orchestra.

A group of tourists were seated in Rows L-N, all women in their 50s from the Midwest, who talked through the entire show like they were in their own living room, and unwrapped every individually wrapped candy they could fit in their carryon on the flight over. They went nuts for Hayes, and I wrote them off, in their cheesy clothes, as Will & Grace fans who were about to be sorely disappointed that Jack and Karen weren't about to make an appearance. But as irritating and obnoxious as they were, it turns out they were big fans of.... Lavant, because they knew his lines, anticipated his quips and actions before they happened. They were miserable to sit near but was a nice lesson in judging books by their cover for me.

chrishuyen said:

Anyways, Sean Hayes in particular was fantastic, and I thought the rest of the cast was all in good form, but somewhat pale in comparison. Wendell Pierce had been my pick for Best Actor before, but I think Hayes just slightly edges him out in my mind, though I really wouldn't mind if any of the 5 nominees took home the award, talk about an embarrassment of riches."

Could not agree more re the riches of this season in that category. Corey Hawkins probably knocked me out the hardest, but there is no weak link in that category. And there Hayes is so lost in this role, it was really remarkable. The piano performance was incredible, but it was his last scene with his wife where he really grabbed me by the throat. Cant shake it. Glad I saw it.