Let's be Pennebaker & Hegedus' MOON OVER BROADWAY!

I'm playwright/hack Ken Ludwig allowing that woman from tv to star in his masterpiece.

I'm pretentious director Tom 'NIGHT MOTHER Moore. I consider myself an expert on Feydeau, and I am NOT having Phil Bosco's "creative contributions."

I am television star Carol Burnett who has also done tons of theatre. Do not underestimate my ability to make even the worst comedy writing play like gangbusters. Do not say "it's television!" about my work behind my back and then make me go out front and take questions from the audience while you fix the set.

If Ken were as good a comedy writer as I am a comedic actor, the script would be a masterpiece. But he isn't, so off to work I go.

I am the main winch of this show.

I'm Carol's chum Julie eating her out in her dressing room.

I'm producer Elizabeth Williams. I never tire of reminding you that Ken and I worked together on CRAZY FOR YOU -- so you know I really understand him. I'm the only one who feels badly for him when the reviews come out.

Per Wikipedia, I've "also published articles on the iconography of the ancient gods of Syria." Who knew?

I'm the first draft of the play that was said to be brilliant but abandoned.

I'm the "hearing aid"/"lemonade" joke. No one will ever fix me. I'm a great example of Ken Ludwig's massive limitations.

I'm Philip Bosco thinking I was hired to play the leading role and now forced to be a co-star.

I'm Howard Kissel. On the commentary track, Rocco Landesman randomly disses me ("not a major critic") but says nothing about, say, John Simon.

The documentary didn't focus enough on what a terrible, unfunny show Ludwig wrote to start with.

I saw it when it opened, and it was a laborious chore to sit through.

I'm Tony winner Janie Sell who is an Executive Secretary by day and standby for Miss Burnett at night.

Right, R10? The documentary doesn't give Burnett and Bosco (and even Graff and Connell) the credit they deserve for being the material-elevating actors they always are.

Ludwig's playwriting is omnipresent because at least one of his regional plays, usually adaptations, are always making the rounds.Crazy for You, Lend Me a Tenor (and its sequels, oy!) and Moon Over Buffalo saw productions everywhere. For a while it was the 39-Steps-esque Baskerville which seems to have been the apex of his multiple Sherlock Holmes plays. He wrote adaptations of children's adventure books: Treasure Island, Sherwood/Robin Hood. Now that he's in with the Christie estate, Orient Express is slowing down just as Death on the Nile is about to get going. Regional theatre has made him rich, no doubt, as it probably has playwright/adapter Jeffrey Hatcher. They both overlap in adapting and modernizing famous thrillers by others and writing Sherlock Holmes plays, but Hatcher's original works are a different style. Cannily, Hatcher has just written a play with both Holmes and Poirot (the character is now in public domain due to the early Christie titles).

Moon Over Buffalo was Ludwig's last original play on Broadway. Since then he just had the short-lived Tom Sawyer musical and his rewrite of the play Twentieth Century. There was a cute new play about his parents' WWII courtship at 59E59 a few months back that regional theatres will pounce on. His Shakespeare book for kids is excellent and intelligent and accessible.

Like any good documentary, this one's not in the business of giving credit but rather in showing us a complex situation and letting us decide for ourselves what it all means. It was perfectly clear to me from the first time I saw MOON OVER BROADWAY that Burnett, Bosco et al. did indeed triumph (as far as possible) over mediocre material.

But if you want it made more explicit, then I direct you to the terrific commentary track on the DVD, which can also be heard on YouTube. There, Bosco, Burnett, Landesman, Ludwig, Moore, Williams et al. react to the documentary in fascinating and complex ways. (Bosco minces no words about his frustrations with Moore and makes it clear both that yes, he went into this project because he thought that he'd be the sole star of the show, and yes, it's good that they made changes to beef up Burnett's part, because otherwise the show would have died much sooner. He also praises Burnett, Connell and Graff as expert purveyors of farce comedy.)

Poor Lynn Redgrave. She tried very hard as Burnett's temporary replacement but the laughs were gone. And having to play opposite dreadful Robert Goulet didn't help. The play did not work without Burnett. Anyone see Joan Collins and Frank Langella do it?

I'm Harvey Korman sorely missed.

I'm Philip Bosco's insult to Barbra Streisand on the commentary. What's that all about?!

Carol Burnett was certainly hard-working in the play, but I did not think she wasn't very good.

Bad material doesn't let you out alive.

Andy Taylor is an extremely talented actor and I couldn't believe how awful he was in Moon Over Buffalo. Happily, I saw him playing Leo Bloom in The Producers tour years later and he was back on top, giving a wonderful performance.

I'm Carroll O'Connor at opening night reluctantly being introduced to Ken Ludwig.

Ricky Leacock: Penny, you know exactly what's missing. As if, as if you are there.

I'm the Long Island dentist who’s good at one-liners.

I'm the uncomfortable scene where the terrible reviews are read aloud, and any non-damning snipet that can be is pulled to use in advertisements.

I'm Tom Moore's insistence that "this play will NOT be improvised." I'm also his bad Marian Seldes impression.

I'm the straw sucking scene. Ick.

I'm delusional Kate Miller insisting she's a pretty girl.

There is simply no excuse for anyone doing a bad Marian Seldes impersonation.

I'm Carol posing for "fun" pictures to send to my "chum" and totally platonic non-lez BFF Julie Andrews.

I'm also Carol handing out opening night presents though we don't see what they are.

Probably DVD sets of her anniversary specials.

I'm "dramaturg" Jack Viertel. Hopeless case Ken Ludwig hates me. He can't even walk to the front rows because he doesn't want to walk past me.

I'm Bernadette in the audience with glasses.

And I'm also Bob Mackie who throws a hissy fit.

[quote]r30 And I'm also Bob Mackie who throws a hissy fit.

I forgot this part! What was his issue?

I think he said the dressers were hopeless. Carol suggested they rehearse the changes like a dance. 5 6 7 8.

I can't believe how long it takes Carol to realize that its funnier to have someone else rip off her wig in the play rather than she doing it herself.

We're the press reacting is silence to Ken Ludwig's description of the play at the first press conference.

R33, Carol knew it. She'd been doing it forever on her own show but she also didn't want to make it seem like she was rewriting the script. I thought it was another class act on her part.

I'm Ken Ludwig following the script at the first read-thru rather than listening to the actors.

I am a Pennebaker fan this one left me feeling more manipulated than his other films. All documentations fashion a narrative they want you to follow but there was something kind of cruel about the Kate Miller edit. I've known a lot of girls just like her, ambitious and willing to do and say whatever to get ahead, be included and maximize any opportunity. The "I'm a pretty girl" thing outside the theater looked staged and she's clearly performing in a way that she thinks will get her attention. Bad call, and that's on her. But she was young woman at the time and he could have given her something redemptive in the final edit. Stritch got a hero's edit in the COMPANY doc. It just bothers me that she has had to live with that for decades.

Who among us would want our worst moments in our 20s immortalized like that? I get that it was her responsibility, but I just got the sense she intuited what would get her attention and played along. ....

Did Bernadette ever lez out with Carol? Or was Carol true to her chum, Dame Scissors Andrews?

The directors must have promised everyone they would get an unflattering close-up, even the producers of the show.

What about pocket cutie Tom Moore? Where were his boyfriends? I see that at age 80 he took up trapeze.

As it’s known off-Broadway: a sling

I'm straight hubby Dom DeLuise telling Carol he wanted to wear her costumes.

I'm the drag queen Carol Burnett claimed the producers wanted to replace her one performance a week (strongly denied by the producers).

I'm the TENSION that is apparent in the battle of egos to get the show running.

Did anyone know the late Bosco? Listening to his commentary, he really does seem like the pretentious actor Harvey Korman parodied on the Funt and Mundane sketches on the CBShow. At one point, he slightly references him but calls him "the tall one."

I'm Carol's cringeworthy suggestion to have her do Shirley Temple in the play.

we're Carol's double diamond earrings.

I'm Philip Bosco indignant that Tom Moore is not paying Moore attention to his comic expertise.

I'm "Over the Moon," the new title for the play when it's produced in London starring Joan Collins.

Bosco! Knew him? I loved him!

I'm the bit in the play of Carol walking on Bosco's back. That would have worked if they had picked a better song.

I'm the audience watching the film realizing everyone is tense because they know the play has zero laughs no matter how they play it.

I'm the first line of the play and I'm not funny!

I'm Tony winner Randy Graff wondering WTF I'm doing in this piece of shit play.

I'm Carol referring to the Boston opening night audience as the first civilians to see the show, ignoring the fact that civilians went to the previews too.

I'm proof that Ken Ludwig can be funny. in Boston he tells the cast he is working on new pages and Carol asks if he is writing a new play. Apparently so, he answers.

Why wasn’t the funny Long Island dentist hired for some gags?

[quote]Moon Over Buffalo was Ludwig's last original play on Broadway. Since then he just had the short-lived Tom Sawyer musical and his rewrite of the play Twentieth Century. There was a cute new play about his parents' WWII courtship at 59E59 a few months back that regional theatres will pounce on. His Shakespeare book for kids is excellent and intelligent and accessible.

That play about his parents is by far the best thing he has ever written -- or rather, I should say, the only good thing he has ever written.

We're the three new gags Ken Ludwig provides that Tom Moore thinks are funny, but are woeful.

I'm the use of the tap dancing version of "You are my lucky star" on the soundtrack.

I'm the text that appears on screen at the end of the movie -- insisted upon by Ken Ludwig -- which gives the false impression that, ultimately, MOON OVER BUFFALO was something of hit. (It ran 309 performances, so not a one-night or one-week mega-flop but not a hit by any standard.)

And 22 previews before opening night on Broadway. That seems a lot.

I'm the critics night that occurs before opening night for the production in New York.

[quote]And 22 previews before opening night on Broadway. That seems a lot.

Well, they were obviously in huge trouble. Somehow, it wasn't until they were well into rehearsals that the producers and director realized the script was such shit that even great old pros like Burnett, Bosco, Graff, and Connell couldn't quite make it fly.

I'm Philip Bosco forgetting his lines at the final dress rehearsal and freezing in terror.

[quote]r64 t the producers and director realized the script was such shit that even great old pros like Burnett, Bosco, Graff, and Connell couldn't quite make it fly.

Even the Long Island dentist couldn’t save it.

We're Jack Viertel, Paul Libin, Rocco Landesman, James H. Binger and Jujamcyn Theater Company and we will next work with Patti LuPone!

R65 Bosco claims in the commentary that he didn't forget his lines.

I'm Matthew Broderick doing the hello and walk when Ken Ludwig introduces himself.

[quote]R68 Bosco claims in the commentary that he didn't forget his lines.

That’s what they all say.

I'm the idiotic idea that Bosco has greater audience appeal than Burnett.

R71, where in the docu is that idea promulgated?

R72 there is a scene where John Lahr calls Bosco the engine of the show and the reason why the play “will run”

Someone rightfully says, “the audience is coming for carol”

The whole thing is stupid.

They have one of the biggest, likeable stars in the world in their play and they treat her like shit the entire time.

It’s amazing how different times are because now stars are treated like GOD in the theatre, no matter how terrible they are.

Thanks, R73. What a stupid comment by Lahr. Phil Bosco was a great actor, but I hardly think his name made much difference at the box office.

I have always assumed that Bosco and Ludwig agreed to work together again on MOON OVER BUFFALO because, somehow, LEND ME A TENOR had been quite a hit (even though I thought it was crap). I'm guessing the MOB debacle soured their relationship, and maybe even ended it.

I would say all of the producers and creatives in the docu come across very badly for several reasons, but mostly for their lack of respect for Burnett.

Will I find the doc with commentary on youtube?

I'm the Burnett schtick she does not want to use in the show that they end up wanting to include.

R75 - yes.

I’m Carol’s tight as a drum facelift.

I'm Bosco exiting the theatre with Burnett and being ignored. I'm not doing THAT again.

Well, IIRC, what Lahr says is something like "Bosco's money in the bank, isn't he?," and when Landesman says that he thinks Burnett's the draw, Lahr clarifies that Bosco is the one who makes the show work.

Bosco says he was pushed onstage once the technical problem was fixed to finish the play on that friend's night performance in New York. That's when he was accused of forgetting his lines. But he says he deliberately stopped because he was so angry about being treated that way. He also mentions having the do this last scene after Carol had done her talking to the audience bit and wondered how he could follow that.

He just needed to dry his eyes, and get out there to finish his job.

He was NOT dismissed for the night!

From the few scenes we see in the film with the ingenue he has the affair with, Bosco has no sex threat. If the character is meant to be a sleaze they should have gotten F. Murray.

I'm the audience. Carol tells an interviewer that I'm NEVER wrong.

I'm Carol touted as a comic genius. She's also grown lazy after years in television and making films, wondering why everyone is behaving so seriously.

R35 there's a point early on in rehearsal where she wants to switch out a word for a bigger laugh. She's 1000% right, you can play the line in your head and hear how the audience will react better to her version. But the director is very reluctant to allow her to even try the change.

When you have Carol Burnett, who's done her 10,000 hours of comedy in front of an audience, making a suggestion, you're LUCKY and you should LISTEN.

R43, to be more precise, Burnett says that the producers tried to lure her to stay longer by saying that "a female impersonator" would step in for her one show a week. (Note that her first remark on the commentary track is that she'd gladly return to Broadway if she could just do the matinees.)

Bosco forgot his lines??? Amateur!!!!

R37: " But she was young woman at the time and he could have given her something redemptive in the final edit." Did you think that you were watching "reality" TV? Miller had a small part in the show, and it's more than likely that she didn't have any such "redemptive" moment.

It would have been so funny if when she admonished, “And I think photo approval’s in my contract” they’d just taken the photo down and said, “Maybe. But your picture being [italic]displayed [/italic]isn’t. Buh-bye.”

Kate Miller was actually very, very funny in Moon Over Buffalo.

You wouldn't know it from the film.

I'm Carol only willing to do another Broadway show if she can just do matinees. Comic geniuses need their sleep.