‘Act one:’ What I did for love and OCC awards announced

The memorable refrain from “A Chorus Line”— “won’t forget, can’t regret what I did for love” is brought too passionate, thrilling life in James Lapine’s magnificent adaptation of Moss Hart’s bestselling 1959 autobiography “Act One.” And Lincoln Center’s Vivian Beaumont Theater is the perfect venue to pay tribute to one of America’s most beloved playwrights and directors of his time.

With Tony Shalhoub, Santino Fontana and Matthew Schechter playing Moss Hart at different stages of his early life and singular career, in a production that gives equal weight to his impoverished upbringing, the family influences on his choices and his lifelong passion for the theater: born when he saw his first show at 11. This soul-expanding production is also a wondrous insight into the rewards of pursuing your dreams and finding pleasure and fulfillment from your trial and error forays into honing your craft. At the Beaumont what we learn anew is the great degree to which luck favors the well-prepared.

Hart grew up in a time and place incredibly fertile for theater. A subway ride took him, in his youth, to Times Square where, in the 1927-28 season 267 shows opened on Broadway! Hart was lucky — albeit chutzpah could have been his middle name — to insinuate his way into his first theater job at 15 — working as secretary to a producer that eventually resulted in a flop collaboration. But Hart was hooked, and after a short stint on the West Coast in the world of film, returned to New York and the beginning of his eventually incredibly fruitful partnership with George S. Kaufman (a tale in itself!)

In “Act One,” sharing in Hart’s formative years that led to his first theater success in “Once In a Lifetime,” a smash hit after a long gestation in getting there — in collaboration with Kaufman — we learn, again from “A Chorus Line:” that “as we travel on love’s what we remember.” And “Act One” is a true love story.

I’ve since received “Act One,” the book, as a gift; reading the opening pages I discovered that Hart’s grandfather, a larger-than-life character, died when the boy was only 7. Living in tenement poverty, young Moss turned “not to my mother or father, but to my Aunt Kate (a magnificent, incandescent turn by Andrea Martin in the play) who ‘shaped his destiny’ and “…was the most important event of my boyhood.”

If you are a devoted theatergoer you may have already visited James Lapine’s poignant, riveting “Act One.” If not, put this compelling and often comic drama at the top of your list of multi-award nominated “musts.” I can’t wait to return to Hart’s “Act One” and further connect the dots! (Lincoln Center, 212-239-6200, lct.org)

The Outer Critics Awards
Celebrating its 64th season of bestowing annual awards for excellence in On and Off-Broadway New York theater, the Outer Critics Circle is known for its thoughtful nominations and memorable Sardis Awards parties!

Just announced, the 2013-14 awards reflect the highlights of the season with that special OCC flavor. “A Gentleman’s Guide to Love and Murder” topped the winners with four awards: for Outstanding New Broadway Musical, for Robert L. Friedman’s hilarious Outstanding Book, for Director Darko Tresnjak genius guidance of the mayhem, and to inimitable Jefferson Mays for Outstanding Actor in a Musical.

Here the thoroughbred actor plays the eight ingenuously put to permanent rest members of the clan who’d deprived a poor old lady and her enterprising son of their rightful inheritance. “All the Way” was awarded “Outstanding New Broadway Play. With Bryan Cranston’s huge portrayal of LBJ the winner of Outstanding Actor in a Play. “The Glass Menagerie “ took home “Outstanding Revival of a Play and “Hedwig and the Angry Inch” Outstanding Revival of a Musical.

Winners of two or more awards included the latter two productions plus the delightful musical comedy “Bullets Over Broadway. “Rocky’s” only win was for Outstanding Set Design. But the new musical is surprisingly knockout entertainment. So is Outstanding Solo Performance winner John Douglas Thompson’s riveting turn imaging “Satchmo at the Waldorf.” And, no surprise, Audra McDonald will come to Sardis’ podium once again, this time to claim the Outstanding Actress in a Musical award for her haunting portrayal of icon blues belter Billie Holiday, sadly well past her magnificent prime.
OCC’s thoughtfulness also gave Bill Berloni something to bark about as he was given a

Special Achievement Award in recognition of this season’s outstanding performances by his dogs in “Annie,” “The Open House,” “The Threepenny Opera,” “Bullets Over Broadway” and “Lady Day;” and for his long career of turning dogs rescued from animal shelters into theater stars! Full list available online.