Moss Hart, a prolific American playwright, librettist, and director, left an indelible mark on Broadway and Hollywood through his sharp wit, innovative storytelling, and remarkable collaborative spirit.
Born in New York City, Hart's early life in the Bronx was marked by relative poverty, but his passion for theater was ignited by his Aunt Kate, who frequently took him to performances. This early exposure fostered a deep appreciation for the stage, which he saw as an escape and a path to becoming "somebody else."
Early Career and Breakthrough Collaborations
Hart's journey to Broadway began with directing amateur theatrical groups and serving as an entertainment director at summer resorts. His first major success came in 1930 with "Once in a Lifetime," a farce co-written with the seasoned Broadway veteran George S. Kaufman. This play, which satirized the advent of sound in Hollywood, was a significant hit and marked the beginning of one of Broadway's most celebrated writing partnerships. Kaufman, known for his collaborations, found in Hart his most important creative partner.
The decade that followed saw Kaufman and Hart produce a string of highly successful plays. Their joint efforts included the Pulitzer Prize-winning "You Can't Take It with You" (1936), a beloved story about an eccentric family during the Depression, which later became an Oscar-winning film. Another notable collaboration was "The Man Who Came to Dinner" (1939), a play featuring characters based on real-life figures like critic Alexander Woollcott, Noël Coward, Harpo Marx, and Gertrude Lawrence. These plays showcased their ability to blend humor with insightful social commentary, earning them critical acclaim and popular success.
Beyond Kaufman: Musicals and Solo Endeavors
While his partnership with Kaufman was foundational, Hart also explored other creative avenues throughout the 1930s. He contributed to several musicals and revues, demonstrating his versatility as a writer. A notable example is "As Thousands Cheer" (1933), a groundbreaking revue for which he wrote the book, with music and lyrics by Irving Berlin. This production was unique for its topical, newspaper-inspired format and its progressive move to give African-American star Ethel Waters equal billing with white performers.
Other musical collaborations included "Jubilee" (1935) with songs by Cole Porter, and "I'd Rather Be Right" (1937) with music by Richard Rodgers and Lorenz Hart (no relation). After "George Washington Slept Here" (1940), the prolific partnership between Kaufman and Hart concluded. Hart continued to write plays independently, such as "Christopher Blake" (1946) and "Light Up the Sky" (1948), and penned the book for the musical "Lady in the Dark" (1941), featuring songs by Kurt Weill and Ira Gershwin.
Directing Triumphs and Hollywood Contributions
In the latter part of his career, Hart became equally renowned as a director. He helmed numerous Broadway hits, including "Junior Miss" (1941), "Dear Ruth" (1944), and "Anniversary Waltz" (1954). His most significant directorial achievement was the iconic musical "My Fair Lady" (1956), an adaptation of George Bernard Shaw's "Pygmalion." This show ran for over six years and earned Hart a Tony Award for Best Director, solidifying his reputation as a master of the stage.
Hart also ventured into screenwriting, contributing to several notable films. He received an Oscar nomination for "Gentleman's Agreement" (1947) and also wrote screenplays for "Hans Christian Andersen" (1952) and "A Star Is Born" (1954). His memoir, "Act One: An Autobiography" (1950), was later adapted into a film in 1963. His final directorial project was the Lerner and Loewe musical "Camelot" (1960), which, despite a challenging out-of-town tryout and Hart's own health issues, became a hit, further cementing his legacy as a multifaceted talent in American entertainment.
