'Moonlight and Magnolias' TheatreWorks production is brilliant—from bananas to nuts
2008-04-25
The American fascinaition with Hollywood— particularly during its Golden Age—is never-ending, so it seems impossible to resist the lure of a theatrical piece that takes viewers behind the scenes for the making of one of Hollywood's greatest films. The title, "Moonlight and Magnolias," conjures ethereal images but, in fact, this production is a wryly-written comedic romp that goes from bananas to nuts—deliciously hilarious from beginning to end.
TheatreWorks has had an interesting Hollywood thread linking its last few productions, from last season's "The Philadelphia Story" (a show-turned-film that reignited Katharine Hepburn's career), to "Tea at Five" (a one-woman show exploring the life of Katharine Hepburn with its first act focusing on her hopes to snag the lead role in "Gone With the Wind"), and now, Ron Hutchinson's "Moonlight and Magnolias," which gives viewers a side-splitting, behind-the-scenes look at how a classic of American film came to life.
TheatreWorks has another hit on its hands with this uproariously witty production.
Imagine it's 1939 and production on "Gone with the Wind" has gone South—literally. Production has been halted by legendary movie producer David O. Selznick (Thomas Libonate), the original director, George Cukor, has been fired and there is no script—at least not one with which Selznick is pleased. His professional, financial and personal survival hinge on the film's success, and his megalomania is rising to the surface.
As the curtain rises, viewers
see the creative wheels spinning when he enlists script doctor Ben Hecht (Glenn Couture) and director Victor Fleming (Jonathan Ross) to help him rewrite a script that has already been written several times by various screenwriters, including Sidney Howard. He offers Hecht $15,000 for a complete rewrite of Howard's screenplay, but there's a slight catch: Hecht never read Margaret Mitchell's novel and knows nothing about the story. Making matters worse, Hecht is less-than-thrilled by Selznick's synopsis and is as sure as rain the film will flop.
Enter director Victor Fleming, pulled from the set of the soon-to-wrap "The Wizard of Oz," who is thrilled to leave the set of munchkins behind, but none too happy to work on a screenplay for the Civil War melodrama. Perhaps the only thing he and Hecht can agree on is one blatant fact: "No Civil War movie has ever made a dime."
Determined to get the film made, Selznick tells his devoted secretary, Miss Poppenghul (a mirthful Missy Slaymaker-Hanlon), to hold all calls and visits—including those from studio exec and father-in-law, Louis B. Mayer. He calls for a steady supply of brain food—bananas and peanuts—to avoid mixing digestive juices with creative juices while the trio rewrites the script in five days. The writers are literally locked in Selznick's office to complete their task and, since Hecht knows nothing about the story, Selznick and Fleming play all of the characters in the story and act out some of the most famous scenes of the movie in ways viewers have never seen before—and probably never will again.
What ensues is a hilarious clash of wills as these creative forces quarrel and compromise for five days straight, tussling— sometimes literally—over every detail and angle of the film, from the debate over Scarlett's infamous slap, to the film's famous final words—" ... tomorrow is another day." The more sleep deprived they become, the more outlandish and hilarious their behavior—and the messier Selznick's office becomes. Can they finish the script in time with what little sanity they have left intact?
While there is much slapstick and screwball comedy in this production, there are several doses of reality keeping the audience grounded. Fleming is a man's man and none too thrilled to work on a doomed Civil War melodrama, while Hecht is a sarcastic, yet idealistic, ex-Chicago journalist deeply committed to the Jewish cause as World War II brews in Europe.
Also highlighted by Hecht are the racial issues of "Gone With the Wind" and the depiction of slavery in the South. "We're supposed to make the audience root for them?" he asks Selznick rhetorically, talking about the manipulative Scarlett and the roguish Rhett. A subject of particular debate is Scarlett's slapping Prissy, the O'Hara's house servant, a scene Hecht is adamant about cutting from the screenplay altogether. While this infusion of politics of the era may threaten to become overbearing and out of place at times in Mr. Hutchinson's script, it seems appropriate considering the current political climate. In most cases, it is to the credit of the show that these conversations remind viewers of these issues.
For this show to truly shine, chemistry must exist among the three lead characters. Fortunately, director Sonnie Osborne has chosen her cast wisely.
Carrying the show is Mr. Libonate as the megalomania-cal producer, who is at once passionate and insecure—desperate to complete the film, desperate to succeed and to prove Hollywood wrong. Mr. Libonate once again reveals his expert comedic timing and his ability to capture this passionate man in this outrageously funny and fast paced story. From the moment the lights come up to the final cut when he inadvertently comes up with one of the film's most famous lines, he is on his game. His singing of the film's memorable theme wasn't too bad, either.
At the same time, he manages to become a figure of authority who understands the nitty-gritty of the business, telling Hecht and Fleming he pays writers to write what he wants them to write and pays directors to direct what he wants them to direct. "That's collaboration," he says. Mr. Libonate's performance is a wonderful balance of comedy, melodrama and screwball hilarity.
Mr. Ross brings another dimension to the character of Victor Fleming. As the days pass and he becomes more sleep deprived, the audience sees the more vulnerable man who lingers beneath that tough exterior, allowing Mr. Ross to provide some of the show's most sidesplitting moments. Imagine, if you will, Mr. Ross as uber-macho Fleming, portraying Melanie giving birth while Mr. Libonate's Selznick portrays Scarlett—all to inspire Hecht's screen-writing. Their chemistry and physical comedy is priceless.
Hecht, while not involved in as much of the physical comedy of the show, spends much of his time behind the typewriter. Mr. Couture brings this complex man to life, a man full of passion for his cause and staunch in his convictions. He makes sure that, while Selznick and Fleming may not agree with everything he says, his point is heard. Also interesting is the undeniable chemistry between Hecht and Fleming, their relationship rocky and infuriating, until they manage to come to a few agreements. Among them, is that the film will be an utter Hecht thinks the film will bomb and damage their careers and declines screenwriter credit. Fleming decides to take an upfront salary instead of a share of the profits.
If they only knew ...
Keeping this campy bunch from coming completely unhinged is the harried but devoted Miss Poppenghul, portrayed beautifully by Ms. Slaymaker-Hanlon. Her comedic timing is right on the mark, and you cannot help but smile when she has her moment in the "Gone With the Wind" spotlight.
Bringing all of this craziness to further life is a beautiful set designed by Scott Wyshynski, and another brilliant directing effort by Ms. Osborne in this, her second directorial hit at TheaterWorks. Despite some minor political misgivings in the script, "Moonlight and Magnolias" is a hit on so many levels. Frankly, my dear readers, this is one comedy not to be missed.