There is a telling scene in “Blue Moon” that finds Ethan Hawke, playing the beleaguered lyricist Lorenz Hart, yammering about his triumphs and disappointments – as he does through much of the word-logged film – while visiting the men’s room. Eventually, the young musician he’s been talking to quietly slips out, and Lorenz glances back to see the door swinging shut.

If Hart’s contribution to American theatre has been overshadowed by the massive success that his composing partner Richard Rodgers went on to have with Oscar Hammerstein II, “Blue Moon” aims to draw him out of a forgotten corner of the industry’s annals. Saddled up to the bar at Sardi’s, the legendary Broadway watering hole, Hart waxes about his career and tries unsuccessfully not to drown his sorrows. (He struggled with alcoho

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