Moon Over Broadway

From Andy Hardy musicals and plays like Noises Off and Kiss Me, Kate, we all have images of what it's like behind-the-scenes during a theatrical production. But in this movie from two award-winning documentarians, the true story of one play's run--from its first read-through to its last performance--is more filled with intrigue and problems than any fictitious drama would have dreamt up. Most interesting is the fact that the director and writer have a huge problem with Carol Burnett's overacting and paraphrasing of her lines, while it's obvious everytime we see a scene from the play that the writing is in desperate need of help--and in fact Burnett gets great reviews, while the play itself is slammed by the critics. Especially noteworthy are a scene where Burnett's co-star, the venerable Phillip Bosco, finally loses it with the director, and a scene where the first reviews come in--"They're bad, but they're not mean bad" says one man, who's agency will use the reviews to write an ad. If you like the theater, this video is the equivalent of a page-turner--you won't be able to hit the pause button!

All sorts of drama unfolds within this film. Diva-esque actresses, lying producers, inept writers....Basically, it's your average Broadway show. There are some amazingly revealing moments here. At one point, Thom Moore, the director of Moon Over Buffalo criticizes Carol Burnett...She nods and accepts the criticism, but you can see the hurt in her eyes. I think Burnett comes out as the heroine of this film. One night in Boston, the set breaks down and she goes out to entertain the audience by answering questions about her life and so forth. An excellent film that is really really hard to find!

-- now the play that was a different thing.

Moon over Broadway -- gee -- I was really bored. How does a repeatedly produced and published playwright become bored watching a behind the scenes documentary about mounting a Broadway show starring big hitters. How could this have happened??

So many problems of the show (the play) came from the lack of prior readings of the play. It is clear this was rushed into production once carol B. signed up for it. We will note here that carol b. has not mounted a second Broadway return. Why? It's hard. Being on stage in a farce no less is very hard to do at 20, 40 or 60. She's clearly insecure, doesn't know her lines and does not like being told she has to do better. Worse -- she doesn't understand the writer's pacing - pacing period, (there is a rhythm to every stage play, notice I said stage play not a TV skit) That's a major problem. Lastly she prefers paraphrasing instead of sticking to the script. The very reason Mary Tyler Moore was fired by Neil Simon recently, if you'll remember. Not since Moore starred in an ill-fated musical verision of Breakfast at Tiffanys (70s) had she been on stage. There was a reason. She's TV. And so is carol b.

Back to the moon! Carol B.'s co-star Philip b. is a pompous butt jerk, plain and simple; reminding more of the Jon Levowitz skit Master Actor! One more complaint from him and his acting persona and I was gonna shut it off completely.

I am reminded of the character of Lloyd Richards (the playwright) in the movie All about Eve saying: There comes a time that a piano realizes that it has not written a concerto.

It is no wonder that when their contracts were up carol b. and philip b. left the show, and why their replacements (raquel w. and Robert g.) failed.

The show was packaged and sold as a carol b. production -- that's why people came to see it. Though the play is great for what it is, it is not something that will be done a 100 years from now. Therefore the draw of both carol b. and Philip b. got it as far as it was going to go.

The director --- the 4 foot two -- two-bit politically correct homosexual (hey it takes one to know one) from Hollywood didn't get it either. Either that or he didn't care and was in it for the cash.

Re: scene between Ken L. and director nails that criticism. "You didn't think there were problems?" asked very-worried playwright, who thinks there are a lot of problems. Director replies he's pleased as punch. Bull. The run-through sucked, well, carol B. and Philip sucked, the rest of the cast was wonderful. Pint-sized tart boy directs ken L.'s play by the numbers -- adding little -- that's not how it should work. We only write the words, and the story and the jokes, it can only ascend to something better when a good director takes it on.

Theatre is collaboration -- to a point.

During the entire doc-o-drama Midget man (director-thing) paid nothing but lip service like a two bit palm avenue hustler -- desperately wanting to get to his next line of coke and his ass on a red-eye back to Hollywood. I think he was bored too. Really, I do.

I am shocked as a playwright that ken. L many times found himself defending his work to a TV comic star with only one star turn on Broadway over 40 years ago. She doesn't know her character better than the man who created her. Period.

I am frightened to think that if I ever even get close to having a piece performed on any NY stage that I will blow it as I am sure I will tell someone, at some point to shove their opinion up their pink portal. You can see that on ken. L's face many times during this wonderful documentary. He's a better man, than I.

To conclude this rant I leave you with a carol b. defense, "On the show we could paraphrase." But honey, this isn't TV, you're not Dorothy and this isn't Kansas.

An edge-of-your-seat thriller for the theatergoers among us, "Moon Over Broadway" is the documentary record of Carol Burnett's return to Broadway after a 30-year-stopover in Hollywood. Will "Moon Over Buffalo" make it to Great White Way? Will the critics accept Burnett back into the Broadway fold? Will the damn thing make money for the Landesman's and their co-producers?

In 1997, Ms. Burnett took on the task, along with noted thespian Philip Bosco, attempting to make Ken Ludwig's mediocre farce palatable to the theater crowd deeply buried in the over-the-top world of Andrew Lloyd Weber. And work overtime they did! What is most fascinating here is seeing Ms. Burnett and Mr. Bosco uncertain of their own talents. Often we find Carol unsure of herself, attempting to justify acting choices that really don't matter much when you have such a weak vehicle. The constant `new pages' cause her to worry that her years of improv in TV fare have left her unable to keep up with the rigors of molding a finished product. And then there's Bosco uncharacteristically bellowing as he realizes the laughs just aren't there.

It's a treat to follow these two, along with director Tom Moore and the playwright, from first reading to closing in New York, all taking place in just a bit over a year. I saw the show on Broadway. Since it's closed a long time ago you won't have the chance. Not necessarily a drawback! This film is much more entertaining and will keep you on your toes wondering what hurdle these professionals will next have to overcome.

If we go by this film, the theatre world could take the gold medal in backstabbing.

I saw "Moon Over Buffalo" on Broadway. Throughout the first act, you wondered whether the play was really funny, or if it was that Philip Bosco & Carol Burnett were so good. The second act, you just screamed all the way through. I mention Bosco first because, although not apparent here, he had the lead role in the show, with a great deal of slapstick. He and Burnett were both wonderful, but Bosco was not overshadowed by Burnett. It was a very funny show.

The snobbery on display here is fascinating. The director disparages Burnett behind her back for being a tv actress. I guess the Broadway shows she did in the late 50's-early 60's don't count.

And I really felt sorry for Ken Ludwig, the playwright, who is treated as if he were a black cat continually crossing the path of everyone connected with the show. His "Lend Me A Tenor" is a brilliant farce, and "Moon Over Buffalo" is only slightly below that in quality. He really gets a shaft up his ass here, with no justification. His lead character in "Lend Me A Tenor" is feckless, likable, nervous and ultimately talented. Watching him here, it is obvious that he based the character on himself.

But, as in his plays, Ludwig gets the last laugh. At the end of this film, a list scrolls by of all the productions of "Moon Over Buffalo" around the world. Everyone has moved on to other projects, but Ludwig is still making money off of this. Good.