Once in a Lifetime

by George S. Kaufman, Moss Hart, Ed Asner (Narrator)

It's 1929 as The Jazz Singer hits the silver screen and the talkies promise to change movies forever. Enter three down-and-out vaudevillians who hatch a hare-brained scheme to "make it big" in Tinsel Town. Their plan? To open a voice academy for the witless stars of silent movies. The only things standing in their way are ditzy starlets and power-hungry movie moguls. Starring Ed Asner and directed by Moss Hart's son, this is top-of-the-bill screwball comedy and Kaufman and Hart genius at its very best

Genres: Plays, Fiction, Theatre, Audiobook, Drama, Humor

Audio CD

First published January 1, 1930

About the author

People note American playwright George Simon Kaufman for many collaborations, including Dinner at Eight (1932) with Edna Ferber and You Can't Take It with You (1936) with Moss Hart.

This theatre director, theatre producer, humorist, and drama critic, known as "the great collaborator," wrote very few plays alone.

https://en.wikipedia.org/wiki/George_...

Reviews

[Ray LaManna · Rating 5 out of 5]

After reading Moss Hart's excellent autobiography, Act One, I decided to read his first major hit which features prominently in his book. The play is a funny satire about the shallow world of Hollywood. The remarkable thing is that, after 90 years, it's still true!

[Sketchbook · Rating 1 out of 5]

About as funny as Medea.

[Martin Denton · Rating 5 out of 5]

Of the many funny plays written by George S. Kaufman and Moss Hart, for my money Once in a Lifetime is the funniest. Written in 1930, it's the story of Jerry, May, and George, three small-time vaudevillians who, down on their luck and seeing the enormous success of the first talking picture, decide to head west and strike it rich in Hollywood. Their plan is to open an elocution school to teach the stars of the silent screen how to talk; they get a giant boost when they meet up with the famous gossip columnist Helen Hobart on the train to California and she agrees to introduce them to movie mogul Herman Glogauer. Fast-talking Jerry and level-headed May succeed in opening their school, but it is lovable, slow-witted George who--inevitably--becomes the darling of the studio. Along the way, George finds a sweet young thing named Susan Walker to be his girlfriend, while Jerry takes virtually the entire 2 1/2 hour running time to figure out that May is his one and only.

Once in a Lifetime is so densely packed with brilliantly funny lines and business that you lose track after awhile; that's if you're not bowled over by the realization that practically every cliche of the standard-issue satire on the empty-headed movie business seems to have originated here. The first scene ends with Jerry, May, and George chanting "California, here we come!" and the play reaches its climax with May informing Jerry that he's "gone Hollywood." Helen Hobart, the Louella Parsons-Hedda Hopper stand-in, actually says "You know it was I who gave America Gary Cooper and Rex the Wonder Horse." At the glittery Gold Room of the Hotel Stilton in Los Angeles, two exotic femmes fatales named Phyllis Fontaine and Florabel Leigh would seem to be the epitome of glamour and sophistication--that is, until they open their mouths (think Jean Hagen in Singin' in the Rain).

And there's plenty more: a tyrannical Prussian film director reminiscent of Von Stroheim; a bubble-headed studio receptionist who wears a black evening gown every day to work; a movie studio head so rich that he inspires this exchange:

Helen: It's the most gorgeous house, May. You remember--we saw it from the train.
May: Oh, yes. With the illuminated dome.
Helen: And the turrets.

There's also Laurence Vail, a frustrated and completely ignored screenwriter; he arrived six months ago, "one of a shipment of sixteen playwrights" from New York, and has yet to be given any work to do or even to set eyes on his mercurial boss, Herman Glogauer. George S. Kaufman played Vail himself in the original production; you can tell how much fun he and Moss Hart must have had writing him, the lone voice of reason in a madhouse far madder than even the zaniest Marx Brothers movie.

[Martin Foroz · Rating 4 out of 5]

This satirical play is related to the time when cinema was having a transition to what was referred to as talkies or simply sound. It delivers entertaining perception. Written first by Hart, the collaboration with Kaufman made it palatable enough to be welcomed by Broadway’s audience in 1930. The play was awarded the 1930 Roi Cooper Megrue Prize for comedy. One of its success derives from the fact that it criticizes the film industry in a subtle and smart fashion. The play, according to some critics, set a yardstick for comedic plays, encouraging the following generations of playwrights to incorporate amusement with social critique.

[Joe · Rating 2 out of 5]

I read this right after I read Act One because the writing and production of OIAL was a big part of Act One, which was an amazing book. But wow I sure didn't understand any of these jokes. Felt like reading a different language altogether. Probably was hilarious back in the day. But I guess the legitimate stage had better look to its laurels

[Jackie · Rating 2 out of 5]

A play from the 1930s that feels every year of its age. The play is filled with hyper-specific stars and references which I am sure was very topical at the time, but none of which are timeless. The ending feels empty and incomplete, and just seems like this is a play full of filler with no substance to speak of.

[Joseph Peters · Rating 4 out of 5]

This is frivolous but very entertaining for someone (like me) who's into old Hollywood stuff. Go look up the LA theater works version and give it a listen.

[Marc · Rating 3 out of 5]

It was great to read after reading the book about its writing and production success but is a bit dated and not as funny as I thought it would be.

[Rachel Pollock · Rating 2 out of 5]

Early 20th c. "screwball comedies" written by dead white guys hit different after #MeToo, BLM, WSYWIG. Tired of being expected to laugh at those jokes.

[Jack Cheng]

After reading Moss Hart's memoir, I thought it worthwhile to read the play that he wrote about.

Once in a Lifetime is a cute comedy about NY theater types who try to make it in Hollywood. Turns out, nobody knows anything, and people in Hollywood are dumb and shallow.

Tried reading You Can't Take it With You, too, but these plays are unfortunately dated. That said, Once in a Lifetime could be a funny high school production, given the broad characters and jokes.

[Duncan Maccoll · Rating 2 out of 5]

To be honest, this is a strange but fast moving play. It has a huge cast and we saw it on the Olivier Stage at the National Theatre, London. It has rather dated dialogue but accurately portrays the story it tells.

[John Harney]

An essential companion to Moss Hart's memoir, "Act One." Much of that book is about the creation of "Once in a Lifetime." But the play is still very funny all by itself.

[Jenna · Rating 4 out of 5]

Hoping that this story will get better once we actually bring it to life in theatre, but for now it was just an alright story.

[Andrea · Rating 4 out of 5]

3.5 stars. Funny and charming, but not outstanding.

[Nicole · Rating 3 out of 5]

A delicious premise that feels like a cousin to Singin' In the Rain with some fun cameo characters. A great read for old Hollywood fans.

[Michael Meeuwis · Rating 3 out of 5]

Why no love for this in the comments? If nothing else a must-read for Cohen Brothers enthusiasts.