Once in a Lifetime stands as a significant work in American theater history, bringing to life the wit and satire of the early 20th century Hollywood scene. Though initially penned by Moss Hart, it was his collaboration with the seasoned playwright George Kaufman that transformed it into a commercial triumph. Through their partnership, Kaufman and Hart created a legacy in American comedy that continues to be celebrated for its insightful humor and vivid character portrayals.

The Collaborative Genius of Kaufman and Hart

Moss Hart's initial vision for Once in a Lifetime was brought to fruition through his collaboration with George Kaufman, marking the beginning of a series of theatrical successes. Their partnership yielded classics such as You Can’t Take It with You and The Man Who Came to Dinner, both of which showcase Kaufman's fascination with actors and the theatrical life. Characters in Once in a Lifetime resemble those in Kaufman's earlier works like Merton of the Movies and Dinner at Eight, reflecting the complex interplay between public adoration and personal ambition in the world of performance. Kaufman and Hart's ability to create credible characters in absurd situations stands as a hallmark of their work, capturing the essence of the American Dream through figures like the Vanderhof family in You Can’t Take It with You.

Reception and Impact

When Once in a Lifetime premiered at New York City's Music Box Theatre in 1930, it was met with enthusiasm from audiences and critics alike. J. Brooks Atkinson of the New York Times praised its "swift shrieking and lethal" nature, celebrating its relentless humor and biting satire. Despite minor criticisms concerning the pacing in later acts, the play's critique of Hollywood's follies struck a chord, with Atkinson noting the "St. Vitus dance of wit" that characterized its dialogue.

Critics from Commonweal and other publications echoed similar sentiments, acknowledging occasional pacing issues while extolling the play's satirical prowess. The play's humorous take on the movie industry offered Broadway a chance to satirize its cinematic counterpart, delivering a "delicious satirical meat" to its audiences. This relationship between stage and screen underscored a cultural rivalry, with theater reveling in the chance to poke fun at Hollywood's grandiosity.

Enduring Legacy and Revivals

Once in a Lifetime has seen numerous revivals over the decades, each met with varying degrees of success. While some critics noted that contemporary references had dated over time, the play's humor remained largely intact. Not all revivals were met with universal acclaim, however. Critics took issue with directorial choices that sometimes overshadowed the play's original satire. For instance, Peter Bogdanovich's 1964 revival was criticized for unnecessary additions, which critics felt diluted the play's impact, as noted by the New York Times.

The 1975 production at New York City's ETC Theater, directed by Frank Bongiorno, also faced critiques. Mel Gussow of the New York Times described the production's television play-within-a-play concept as a "time-wasting intrusion" that distracted from the original satire. Yet the 1978 revival at the Circle in the Square Theater was received more favorably, with Richard Eder observing that while some elements had aged, "plenty of insanity" remained to entertain audiences. Meanwhile, T. E. Kalem of Time described the production as a "roller coaster of merriment," though not particularly substantial in thematic depth.

Modern Perspectives

Even decades later, Once in a Lifetime continued to resonate with theatergoers, as evidenced by its 1998 revival at the Atlantic Theater in New York City. John Simon, who previously critiqued the play harshly, acknowledged its value in a "perfect production," though still found it "strained but occasionally funny." Robert L. Daniels of