Theatre review: Good Night, Oscar

Documenting perhaps the first, definitely not the last, nervous breakdown on live TV, Doug Wright's Good Night, Oscar goes behind the scenes of an episode of The Tonight Show from 1958. Moving from its usual New York home to Hollywood for a week, the show is hoping for a ratings smash, and host Jack Paar (Ben Rappaport) wants to open with one of his own favourite regular guests, who always gets a big audience reaction: Actor and musician Oscar Levant (Sean Hayes,) who's become as well known for his near-the-knuckle witticisms and acerbic comments as he has for his virtuoso piano-playing, where he specialises in the works of his old friend George Gershwin. Oscar is often fashionably late, but with this episode coming from the headquarters Jack has the network head himself, Bob Sarnoff (Richard Katz) pressuring him to find a last-minute replacement.

Theatre review: Much Ado About Nothing (RSC / RST)

Theatrical 2025 looks set to be memorable in part for Shakespeare productions whose high concepts tip over from the eccentric to the downright daft, and following Hamlet on the Titanic onto the RSC's main stage is Much Ado About Nothing, with Michael Longhurst's debut for the company moving the play from the world of soldiers and orange groves to that of professional footballers and WAGs. FC Messina have just won a European championship and the celebrations will be held at the home of the team sponsor, Leonato (understudy Nick Cavaliere,) a media mogul whose sports channels show all their games, with his niece Beatrice (Freema Agyeman) as one of the post-match interviewers. This is how she knows one of the players, Benedick (Nick Blood,) and the two have a brief sexual history that makes their encounters spiky to this day.

Theatre review: Trouble in Mind

PREVIEW DISCLAIMER: I seem to be having a run of shows I could only fit in before they officially open to the press; this was the penultimate preview.

A play that made me spend a lot of the evening wondering if I'd misread how old it was, Alice Childress' Trouble in Mind was first staged off-Broadway in 1955; which makes it ahead of its time, to say the very least. Wiletta Mayer (Tanya Moodie) has made a successful career as an actress, admittedly mostly in all-black revues and a succession of bit-part "mammy" roles on screen. Now she's preparing to go back to Broadway for a ground-breaking new drama that will make a powerful statement about racism, and mobilise its comfortable white audience into empathy. It's just a shame that the play-within-a-play, written and directed by white men, is terrible, and full of as many offensive stereotypes as any number of overtly racist works. But as she tells newcomer John (Daniel Adeosun) when rehearsals begin, there's a certain repertoire of polite nods, smiles and giggles black actors have to offer up to white creatives if they're going to feel comfortable around them and continue giving them work.