The Greatest Divorce in Broadway History Is the Subject of a New Movie. But Was It Really That Brutal?

"It's basically a series of conversations with-and occasional monologues by-Broadway stalwart lyricist Lorenz Hart (Ethan Hawke) on one of the worst nights of his life, when, ensconced in the bar of New York theater hangout Sardi's, he hides his despair with a burbling stream of sardonic wit, fabulously bitchy gossip, perceptive observations on musicals and musical artists, and occasional moments of naked vulnerability."

"The source of Hart's immediate unhappiness is that he has just come from the opening night of Oklahoma!, a show that he is smart enough to know will change theater history. He realizes that the first musical written by his former long-term writing partner, composer Richard Rodgers (Andrew Scott), with his new lyricist Oscar Hammerstein II (Simon Delaney), will be Rodgers' biggest success ever. Even worse, Hart despises the show, calling it "a 14-carat hit and 14-carat piece of shit.""

"At first, Hart resists depression and the lure of the bottle by entertaining a small, friendly group consisting of Eddie, Sardi's seen-it-all bartender (Bobby Cannavale); Morty, a GI and an aspiring composer moonlighting while on leave by providing background piano music at the bar; and a quiet bar patron who turns out to be the legendary New Yorker editor E.B. White (Patrick Kennedy)."

Blue Moon follows Broadway lyricist Lorenz Hart during one of the worst nights of his life, as he retreats to Sardi's and masks despair with sardonic wit, gossip, observations on musicals, and moments of naked vulnerability. The immediate cause is Hart's attendance at Oklahoma!'s opening night, which he knows will change theater history even as he calls it "a 14-carat hit and 14-carat piece of shit." Hart passes the evening with bartender Eddie, a GI pianist Morty, and E.B. White, resisting depression and the bottle until the triumphant postshow crowd arrives. The arrival forces Hart to confront his obsolescence while watching Rodgers and Hammerstein bask in acclaim.

Read at Slate Magazine