Act One: An Autobiography

444 pp. Endpapers and first few leaves on textured paper. "In the opinion of the publishers, act one is the warmest, most engrossing -- and by far the most revealing -- book about the theatre that they have ever encountered. It is, of course, a success story, for Moss Hart today is one of the most brilliant, successful and famous figures in the American theatre, both as a playwright and as a director. How did it happen? Not easily. His boyhood and adolescent years were spent in two entirely different backgrounds, and the stories of both are fascinating. With the opening of his first Broadway play, Once in a Lifetime, his world changed abruptly. This book concludes with a detailed telling of the complicated steps whereby that play came into being. 'I consider the memories and pledges that were part of the struggle that preceded success the vital ones,' the author says. He has set these memories down with unusual candor, humor and excitement; and the book is an intimate and informative portrait, not only of him self but of the world of the theatre as well." "Moss Hart (October 24, 1904 - December 20, 1961) was an American playwright and director of plays and musical theater. Hart recalled his youth, early career and rise to fame in his autobiography, Act One, adapted to film in 1963, with George Hamilton portraying Hart. As a young boy he grew up at 74 East 105th Street in Manhattan, "a neighborhood not of carriages and hansom cabs, but of dray wagons, pushcarts, and immigrants" (Bach 1). Early on he had a strong relationship with his Aunt Kate, whom he later lost contact with because of a falling out between her and his parents, and her weakening mental state. She got him interested in the theater and took him to see performances often. Hart even went so far as to create an "alternate ending" to her life in his book Act One. He writes that she died while he was working on out-of-town tryouts for The Beloved Bandit. Later, Kate became quite eccentric, vandalizing Hart's home, writing threatening letters and setting fires backstage during rehearsals for Jubilee. But his relationship with Kate was life-forming. He understood that the theater made possible "the art of being somebody else… not a scrawny boy with bad teeth, a funny name… and a mother who was a distant drudge." (Bach 13). After working several years as a director of amateur theatrical groups and an entertainment director at summer resorts, he scored his first Broadway hit with Once In A Lifetime (1930), a farce about the arrival of the sound era in Hollywood. The play was written in collaboration with Broadway veteran George S. Kaufman, who regularly wrote with others, notably Marc Connelly and Edna Ferber. (Kaufman also played a role in this play's original Broadway cast: the role of a harassed screenwriter who solves other people's problems.) During the next decade, Kaufman and Hart teamed on a string of successes, including You Can't Take It With You (1936) and The Man Who Came to Dinner (1939). Though Kaufman had hits with others, Hart is generally conceded to be his most important collaborator. You Can't Take It With You, the story of an eccentric family and how they live during the Depression, won the 1937 Pulitzer Prize for drama. It is Hart's most-revived play. When director Frank Capra and writer Robert Riskin adapted it for the screen in 1938, the film won the Best Picture Oscar and Capra won for Best Director. The Man Who Came To Dinner is about the caustic Sheridan Whiteside who, after injuring himself slipping on ice, must stay in a Midwestern family's house. The character was based on Kaufman and Hart's friend, critic Alexander Woollcott. Other characters in the play are based on Noel Coward, Harpo Marx and Gertrude Lawrence. After George Washington Slept Here (1940), Kaufman and Hart called it quits. Hart had decided it was time to move on. Throughout the 1930s, Hart also worked, with and without Kaufman, on several musicals and revues, including Face the Music (1932), As Thousands Cheer (1933), with s