Like everything else about the theatre, its success is emphatic and immoderate. During the rough times his is able to perfect the art of survival. He learns to sometimes eschew general conventions and was also able to work with celebrated and great talents. His play, Swifty, based on the life of Swifty Lazar, premiered at Grove Theater Center and was co-produced by multiple Academy Award winner David Brown Jaws, The Sting, A Few Good Men. It is an immersive, human book with such a deep, flowing passion running through it. I am at once a This autobiography is very much a entrepreneurial inspiration, a period piece and a captivating memoir.
Moss Hart may no longer be seen among the greatest of the greats in his profession, but his autobiography definitely is worth reading. He could not and would not stand another day of it. I know that he died about two years after this book was published 1959. Hart can be snarky and sarcastic, but he is always funny--never mean. Of course, Hart also desperately needs money. Hart's story inspired a generation of theatergoers, dramatists, and readers everywhere as he eloquently chronicled his impoverished childhood and his long, determined struggle to reach the opening night of his first Broadway hit. But in a diary that was aggressively sealed by him and his widow—the late socialite and performer Kitty Carlisle Hart—another Hart secretly stewed.
One thing is for sure--Broadway would not be as bright without the talent of Moss Hart. First you get the story of Moss Hart - his upbringing. Poor as we were, this was somehow taken for granted—I do not pretend to understand why. Hart was so upset that he went to lunch with Atkinson and berated the critic and blew up at him. . He counted Cole Porter, Irving Berlin, George Kaufman, and Ira Gershwin as his collaborators and friends. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.
But to the deeply disturbed child caught in a situation that he cannot resolve, the first wonder of the theatre comes as a revelation and a resolution of his unconscious difficulties. Act One is about his early years and how he made it to Broadway. The story of his second summer as a camp entertainment director, when all the staff was cheated out of most of the summer's pay and having to hitch-hike back to New York because they had no money at all , was jaw-dropping. But he and Kitty, even after becoming parents, maintained a dizzying social life in Manhattan and Hollywood. To read both side by side is to see a man at war with himself. Walker and Miss Leighton David Kaufman as George Lewis Katharine Leonard as Florabel Leigh and Bridesmaid 2 Joe Liss as Ernest and others Kellie Matteson as Phyllis Fontaine and Bridesmaid 1; Jon Matthews as Rudolph Kammerling and others Sarah Rafferty as May Daniels Jonathan Silverman as Jerry Hyland Steve Vinovich as Lawrence Vail and others Directed by Christopher Hart.
Until the play is published you might enjoy the autobiography one of our favorite theatre books. But two decades later, Hart wrote in his diary that dinner with Berlin and his wife was deadly dull, noting that Ellen drank way too much and that Irving came across as despondent. But I don't think office boys exist anymore. He also came off as offensively arrogant in spots, for instance when he was flat broke and had to borrow money from an acquaintance, he framed it aggressively as a business proposition instead of as he had been cheated out of his wages and was about to be homeless. But the reader concludes that he always expected and wanted Kitty to read it.
It is Hart's most-revived play. His other plays include Luck, Pluck and Virtue, The Moment When, Fran's Bed and Mrs. I was in a production of that play in college, and I can still recall particula I truly enjoyed this memoir of Moss Hart's early days in the theatre. My aunt, of course, weaved through the various boarders, who moved in and out, like royalty visiting a slum, and complicated the life of the household not only by the separate meals in her room, but by locking herself in the bathroom at the busiest hours of traffic and refusing to budge—another bit of Blanche Du Bois—a rather good example, I think, of life imitating art. We faced a dilemma now, my parents and I, that was not easy to resolve, nor am I sure that we ever did resolve it. I slammed the door behind me without looking back. She was twenty at the time and my mother eighteen, and for both of them it was a glimpse of a kind of life they had never known or were to know again.
Hart writes with affection about his imperfect parents and his almost insane aunt who introduced him to the joys of the theater and the constant struggle to pay the rent and for food. He was one of 23 people to be selected into the Hall of Fame's first ever induction class that year. I didn't know most of them! Lorraine Moss Hart is a Broadway legend. Original Music by Louis Rosen from his Broadway score. The effect of all this on the curious and aloof little boy that I must have been is not hard to imagine. It all adds up to exactly the type of book I like to read. This book is guaranteed to enchant those who love theatre, words, and a powerful rags-to-riches story.
Which brings me to Neil Simon, he of and , both of which I have reviewed elsewhere on GoodReads, and both of which more or less ruined me for Moss Hart. Wealth, rank or an imposing name counted for nothing. Simon's life story and experiences so emulate those of Hart's and are so much breezier in style , that to then go and read Hart's is a bit like chasing down a milkshake with the watery dregs from the rinsed glass. He had to leave school after eighth grade to work. The social interactions and culture of 1920s adult summer camps! He writes that she died while he was working on out-of-town tryouts for The Beloved Bandit.
For those who like knowing more about the immigrant experience, this may be for you as well. I can see him now, with absolute clarity, bending over my bed, lifting me high up in his arms, then putting me on his shoulder, taking me into the dining room and standing me in the center of the dining-room table. My heart leapt within me. You can tell he loves the theatre and what he was doing with all his heart. I was entertained from page one straight through to the end. I would recommend this to any aspiring playwrights as a lesson in persistence and pursuing your dreams. The last show Hart directed was the musical 1960.