One of the greatest books about theatre and theatre people ever written is Moss Hart’s autobiography ACT ONE. In it he hilariously and vividly charts the progress of his play ONCE IN A LIFETIME from conception to Broadway hit thanks to re-writes made in collaboration with another legend of 1930s and 40s theatre George S Kaufman. It’s intoxicating and persuasive in the book but unfortunately, on stage, by modern standards it’s neither funny as a satire of Hollywood’s Golden age or emotionally engaging as the story of three friends from vaudeville theatre who try their luck in the early talking picture Industry.
Reviews
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Review: ONCE IN A LIFETIME at the Young Vic
By Phil Willmott Friday, December 9 2016, 07:12


Review: BURIED CHILD at the Trafalgar Studios
By Phil Willmott Thursday, December 8 2016, 18:23
The people of America's rust belt, a vast area of deprivation, formally the home of now depleted heavy industry, have been much in our minds recently. Their disillusionment with and establishment politics are seen as a major contributing factor in the election of President-elect Donald Trump.


Review: HER ACHING HEART at The Hope Theatre
By Nastazja Domaradzka Tuesday, December 6 2016, 13:21
25 years since its premiere, Bryony Lavery’s HER ACHING HEART, a pastiche take on the Mills & Boons styled romance stories has been revived at The Hope Theatre. Directed by the artistic director of the venue Matthew Parker the show provides plenty of fun for this festive season.


Review: PETER PAN at The National Theatre
By Phil Willmott Tuesday, December 6 2016, 13:04
The story of a puckish, eternal child, Peter Pan, who lures three Edwardian kids to fly away to a fantasy adventure on an island is so ubiquitously a part of the British Christmas that London even has PETER PAN GOES WRONG at the Apollo Theatre which pastiches it.


Review: NICE FISH at the Harold Pinter Theatre
By Monty Leigh Sunday, December 4 2016, 12:25
Having just completed a sold out New York run, the hit-comedy show Nice Fish, co-written by Mark Rylance and Louis Jenkins hits the London stage. Rylance performs as a perfect clown, with impeccable comedic timing.
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