ACT ONE by Moss Hart

Anyone who loves theatre needs to read this 1959 autobiography by American playwright/director Moss Hart. Besides giving insight into the trials, tribulations, & adventures of a star-struck kid trying to make it in theatre, it also provides a poignant perspective on antiquated American theatre. Moss Hart is best known for writing You Can’t Take It With You, Lady in The Dark & The Man Who Came to Dinner; he also directed Camelot and  Rex Harrison & Julie Andrews in My Fair Lady. This book did not address those big-name hits, but told the story of his life leading up to his first play’s successful opening on Broadway.

I preferred the 1st half of the book, even though the 2nd half was more enriching. Hart opened by painting the picture of his destitute upbringing in Bronx, highlighted only by Broadway dreams & a loving, imperfect family. The first door that opened for him was as an office boy in a theatre’s office; he went on to spend his summers as the social director at adult summer camps, continually climbing the ladder until he found great respect at the top of this field. While working this position, Hart persevered at the art of playwriting. His first script that showed potential toured but was ill-received & the tour cut short. His hit finally came when he realized comedic writing was a better fit for him than drama. He wrote Once in a Life Time [the emphasis of the book’s 2nd half] which underwent months of tedious re-writes in collaboration with George S. Kaufman & eventually opened on Broadway to rave reviews.

Moss Hart wrote with unassuming & natural tone that was refreshing & entertaining. It read like a man telling you his extremely interesting life story over a cup of coffee. He answered questions as they popped in my head & recounted the minute details that truly paint a scene. I wish Mr. Hart had written Act Two as a sequel to this book. I’m glad to know what led up to his success, but I also wish I had the same insight on the rest of his career. The novel ends the day after Once in a Life Time’s smash opening on Broadway with the phrase Intermission, which makes me think that was his intention as well. Unfortunately, Moss Hart passed away from a heart attack only 2 years after the publication of Act One at age 57.

 let's remember 2004...when stamps were 7 cents cheaper....

A FEW LITTLE LESSONS from ACT ONE

• Take children to the theatre: Hart’s love for theatre would have disappeared into an abyss of untapped talent had his aunt had not insisted on attending the theatre despite a startling lack of funds. While her motivation was partially selfish, the end result of taking a little boy to plays was a man who forever impacted American theatre.  
• The power of coincidence in the arts: Hart’s 1st job was as an office boy in a theatre that he obtained purely by coincidence & being in the right place at the right time. From there, he worked hard, met the right people, & made his own success. He earned his success, but the coincidental aligning of those stars commenced his career. 
• Laughter is important: There is a reason that Moss Hart finally found success when he decided to stop being so serious & write a comedy. I would never undermine the powerful, political, & social effects that theatre can conjure, but there is nothing wrong with an audience who leaves laughing. 
• The making of good theatre is tedious: The reason why I preferred the first half of the book to the second was that the second half was almost as frustrating as it was engaging. The dedication Hart & Kaufman displayed….the hot & hungry summer afternoons of writing in a stagnant 3rd floor apartment, the joy at a successful first act & devastation at a lackluster second & third, & the incessant obsession of being so close to success you can taste it. That notion is the backbone of the guts & glory of theatre that Moss Hart so embodied in his work & work ethic.