For more information on Moss Hart, visit Britannica.com.
| Britannica Concise Encyclopedia: Moss Hart |
For more information on Moss Hart, visit Britannica.com.
| American Theater Guide: Moss Hart |
Hart, Moss (1904–61), playwright and director. Born in New York, he received his earliest theatrical training as assistant to producer Augustus Pitou. Hart's first two plays failed, but success came when he collaborated with George S. Kaufman on the Hollywood spoof Once in a Lifetime (1930). The team of Kaufman and Hart would write some of the most popular or interesting plays of the day, including Merrily We Roll Along (1934), You Can't Take It with You (1936), The Fabulous Invalid (1938), The American Way (1939), The Man Who Came to Dinner (1939), and George Washington Slept Here (1940), as well as the libretto for the musical I'd Rather Be Right (1937). With others or alone, Hart wrote the books or sketches for the musicals Face the Music (1932), As Thousands Cheer (1933), The Great Waltz (1934), Jubilee (1935), Sing Out the News (1938), and Lady in the Dark (1941). His solo nonmusical efforts include Winged Victory (1943), Christopher Blake (1946), Light Up the Sky (1948), and The Climate of Eden (1952). Because so many of Hart's earlier works were collaborations, it is difficult to assess his precise contribution to them, but his solo efforts revealed a gift for superior, literate dialogue and probing characterization, this last quality probably reflecting his interest in human psychology following his own much‐publicized psychoanalysis. Besides directing many of his own shows, he also staged such hits as Junior Miss (1941), Dear Ruth (1944), My Fair Lady (1956), and Camelot (1960). Autobiography: Act One, 1959. Biography: Dazzler: The Life and Times of Moss Hart, Steven Bach, 2001.
| Columbia Encyclopedia: Moss Hart |
Bibliography
See his autobiographical Act One (1959); biography by S. Bach (2001).
| Dictionary: Hart, Moss |
| Works: Works by Moss Hart |
| 1933 | As Thousands Cheer. This innovative revue, with sketches by Hart and music by Irving Berlin, takes the form of dramatized newspaper headlines. Although mainly lighthearted, it features a segment on a lynching, featuring Ethel Waters singing "Supper Time." |
| 1941 | The Lady in the Dark. Hart's first solo effort, a musical comedy with lyrics by Ira Gershwin and music by Kurt Weill, features an expressionistic method as a restless fashion editor explores her life through flashbacks and dreams shared with her therapist. |
| 1943 | Winged Victory. Based on the training and flight experience of a group of American aviators, Hart's drama features performances by actual soldiers. |
| 1946 | Christopher Blake. Continuing his juxtaposition of drama and fantasy introduced in Lady in the Dark, Hart dramatizes the traumas suffered by a twelve-year-old boy because of his parents' divorce. Scenes alternate between the courthouse, where a custody battle ensues, and fantasies inside the boy's head. |
| 1948 | Light Up the Sky. Hart's lighthearted comedy, about a new play's Boston tryout, recalls his past triumphs with George S. Kaufman. It is Hart's last success; his final play, The Climate of Eden (1952), would close after only twenty performances. |
| 1952 | The Climate of Eden. The playwright's last work is an adaptation of Guyanese writer Edgar Mittelholzer's novel Shadows Move Among Them (1951), about the confrontation that occurs when a missionary and his daughter encounter a mentally unstable young man. |
| 1959 | Act One. Hart's autobiography is described by both S. N. Behrman and Walter Kerr as the best book on the theater written in the twentieth century. |
| Writer: Moss Hart |
| Filmography: Moss Hart |
| Wikipedia: Moss Hart |
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Moss Hart (24 October 1904 – 20 December 1961) was an American playwright and director of plays and musical theater.
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Hart was born in New York City and grew up at 74 East 105th Street in Manhattan, “a neighborhood not of carriages and hansom cabs, but of dray wagons, pushcarts, and immigrants.”[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."[1]
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 performed in the play's original Broadway cast in the role of a frustrated playwright hired by Hollywood.) 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 songs by Irving Berlin, Jubilee (musical) (1935), with songs by Cole Porter and I'd Rather Be Right (1937), with songs by Richard Rodgers and Lorenz Hart. (Lorenz Hart and Moss Hart were not related.)
Hart continued to write plays after parting with Kaufman, such as Christopher Blake (1946) and Light Up The Sky (1948), as well as the book for the musical Lady In The Dark (1941), with songs by Kurt Weill and Ira Gershwin. However, he became best known during this period as a director.
Among the Broadway hits he staged were Junior Miss (1941), Dear Ruth (1944) and Anniversary Waltz (1954). By far his biggest hit was the musical My Fair Lady (1956), adapted from George Bernard Shaw's Pygmalion, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The show ran over seven years and won a Tony Award for Best Musical. Hart picked up the Tony for Best Director.
Occasionally, Hart wrote screenplays, including Gentleman's Agreement (1947) — for which he received an Oscar nomination—Hans Christian Andersen (1952) and A Star Is Born (1954).
Hart also wrote a best-selling book, Act One: An Autobiography, which came out in 1959. It tells of his early days, culminating in the opening of Once In A Lifetime. It was adapted to film in 1963, with George Hamilton portraying Hart.
The last show Hart directed was the Lerner and Loewe musical Camelot (1960). During a troubled out-of-town tryout, Hart had a heart attack. The show opened before he fully recovered, but he and Lerner reworked it after the opening. That, along with huge pre-sales and a cast performance on The Ed Sullivan Show, helped ensure the expensive production was a hit.
Hart married Kitty Carlisle in 1946, and they had two biological children (a third pregnancy miscarried). Nonetheless, the longtime bachelor was known to be gay by many of his own friends and reportedly spent much time in therapy regarding his attraction to men. He also had bipolar disorder which, along with his feelings about his sexual orientation, caused tremendous mood swings.[2] Carlisle did ask him if he was gay before they married and his response was that he was not.[1] Prior to his marriage, one of his lovers was Gordon Merrick, whom he met when Merrick was acting in the original Broadway production of The Man Who Came to Dinner.
In his screenplay for the 1952 film Hans Christian Andersen, Hart wrote the following line for purportedlty bisexual actor Danny Kaye (playing the title role): "You'd be surprised how many kings are only a queen with a moustache."
Moss Hart died of heart failure at age 57 on 20 December 1961, and was interred in a crypt at Ferncliff Cemetery in Hartsdale, New York. Alan Jay Lerner gave tribute to Hart in his memoir The Street Where I Live.
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