The Barbican, London – until Sunday 21 September 2025
Reviewed by Amy V Gathercole
5*****
“See it for Sean Hayes and his Tony Award-winning performance – a true memorable triumph.”
One of the most talked-about shows of the year, Good Night, Oscar first opened in Chicago in 2022, transferred to Broadway with haste in 2023, and—after leading man Sean Hayes took some much-deserved time off—it has now arrived in London for a limited run at The Barbican.
Set in 1958, over the course of one evening, the play brings together a cast of vivid characters around a historic moment: The Tonight Show is set to be broadcast live from the opposite coast for the first time. I didn’t know much about Oscar Levant before seeing the play—only that he appeared in the film An American in Paris—and I’m glad I didn’t Google him ahead of time, as the discovery was part of the magic.
Host Jack Paar (Ben Rappaport, perfectly cast and reprising his role from the original production) is as charismatic as he is calculating. It’s a deadly and delightful dynamic to watch unfold as he manipulates studio execs, Oscar’s wife, and eventually Oscar himself to deliver the kind of controversial, unforgettable interview he craves—one that will ruffle feathers both at the studio and in American homes. Playing it safe is not in Paar’s vocabulary.
Sean Hayes as Oscar Levant is extraordinary. He doesn’t just play Levant; he inhabits him. Provocative, messy, and razor-sharp, Hayes captures the physical and emotional chaos of a man riddled with drugs, substance issues, and, frankly, a large amount of existential dread. His constant twitching, nervous tics, and erratic energy are deeply convincing. It’s clear why he won the Tony Award—this is a performance of rare intensity and precision.
Doug Wright’s script is a triumph. From the opening scene, it’s sharp, polished, and packed with wit and one-liners that the cast deliver with skill. The audience laughed loudly and often, but beneath the humour lies a profound exploration of genius, mental illness, and the cost of being truly seen.
As the production dives deeply into the complexities of Oscar Levant’s genius and torment, it never loses its grip on the audience’s attention. It painfully peels back the layers of his trauma, exposing what he faces day to day just to give the people what they want, as he continues to sacrifice his sanity for popularity.
Rosalie Craig as June Levant is a delight. She’s no passive 1950s housewife—she’s strong, smart, and deeply compassionate. June manages Oscar’s moods and eccentricities with poise and care, whilst also quietly voicing her own struggles. Craig brings a quiet power to the role.
Her love for Oscar is true but understandably complicated. She’s given some of the play’s best lines, delivered with a savage grace that’s thrilling to watch. It’s also affirming to see such a strong female character amidst a play dominated by men, as she brings balance and grace to the proceedings.
Other characters include a medical orderly, Alvin (Daniel Adeosun), who’s attempting to hold the chaotic and questionable antics together whilst caring for Oscar. Alongside him is a very fresh and inexperienced producer, Max (Eric Sirakian), who’s more interested in the biggest stars on the show and their lives and stories, than actually being good at his job. Both performances add some relief, and Alvin was a particular favourite of mine.
The staging by Rachel Hauck is equally impressive—slick, seamless, and visually striking without ever overshadowing the performances. The set becomes a silent character, shifting between dressing rooms and the talk show stage with elegance and purpose.
Sean Hayes, now 55, is best known for his Emmy-winning role as Jack, the bitchy sidekick in Will & Grace, and as one-third of the globally popular SmartLess podcast.
Good Night, Oscar reveals another side of his talent, as many people won’t know that he’s a classically trained pianist who began lessons at age five. In a virtuoso final scene, Hayes performs a fast-fingered seven minute rendition of Gershwin’s ‘Rhapsody in Blue’—a stunning moment that will linger long after the final bow.
If you can get a ticket, do. This is a rare performance—the kind that doesn’t come around often—and it will be talked about and praised for years to come. Good Night, Oscar is smart, stylish, and deeply moving: a theatrical experience not to be missed.