A legendary & mostly true screenwriting miracle in the hilarious Moonlight & Magnolias

Martin Buote, Rob Candy & Ryan Bannon. Mural by Elaine Freedman. Lighting design by Dustin Woods-Turner. Costumes by Lisha Mohan. Photo by Graeme Hay.

 

The Village Players presents Moonlight and Magnolias, the mostly true story of how the final screenplay for Gone with the Wind was written—the 80th anniversary of the iconic film’s release is later this year, on December 15. Written by Ron Hutchison and directed by Michael Hiller, the play follows the hilarious crazy miracle of the writing process, with producer David O. Selznick, director Victor Fleming and writer Ben Hecht holed up in Selznick’s office, under the gun to re-write the script and get production back up and running.

After clearing the major hurdles of finding his Scarlett O’Hara and shooting the burning of Atlanta, Selznick (Martin Buote) has put the brakes on production. He’s got multiple versions of the script, and he’s not happy with any of them. Intending to use bits and pieces from these scripts, along with dialogue from Margaret Mitchell’s book, he calls in screenwriter/script doctor Ben Hecht (Ryan Bannon) and pulls director Victor Fleming (Rob Candy) off of The Wizard of Oz to help him conjure a Hollywood miracle and re-write the script in five days. Selznick’s career is on the line, father-in-law Louis B. Mayer is breathing down his neck, and Vivien Leigh is getting antsy about the break in shooting—and Hecht hasn’t read the book!

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Ryan Bannon, Martin Buote & Rob Candy. Mural by Elaine Freedman. Lighting design by Dustin Woods-Turner. Costumes by Lisha Mohan. Photo by Graeme Hay.

Selznick locks the three of them in his office and, with the assistance of his secretary Miss Poppenghul (Céline Gunton), they live on bananas and peanuts* as Selznick and Fleming act out scenes from the book while Hecht types them out. Hilarity, doubt and anger ensue, complete with bickering over content, Fleming and Hecht sniping at each other, Hecht calling out the insanity of trying to make slave owners likeable—not to mention the systemic anti-Semitism of American society—with Selznick desperate to keep things on track, the clock ticking as he loses money with production on hold. Devolving into a hallucinatory, exhausted mess, the three men crawl to the finish line of the final scene. Then another argument erupts over the ending.

Great work from the cast in this zany, improbable tale—funny ‘cuz it’s true (mostly). Buote gives a passionate performance as Selznick, nicely balancing drive, determination and desperation. This is a life and death situation for the producer; and he’s dedicated years of his life to the project-determined to stay true to Mitchell’s book, despite all the naysaying. Candy makes a likeable cad as the pompous, ambitious Fleming, who’s delighted to be released from babysitting the grossly misbehaved munchkins on The Wizard of Oz. Together, Buote (Scarlett) and Candy (Ashley, Melanie and Prissy) do hilarious characterizations as they act out Gone with the Wind. Bannon’s the perfect devil’s advocate as the talented smart ass Hecht; the social conscience in the room, Hecht isn’t comfortable normalizing racism in this movie. Possessing a deep sense of social awareness, Hecht calls out Selznick, a fellow Jew, on the parallels of systemic oppression. All nicely supported by Gunton’s perky, intrepid and dedicated Miss Poppenghul—who, while happy to cater to her boss’s every whim without complaint, reveals her shock and disdain at the news of an incident of abusive behaviour perpetrated by Fleming.

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Céline Gunton & Rob Candy. Mural by Elaine Freedman. Lighting design by Dustin Woods-Turner. Costumes by Lisha Mohan. Photo by Graeme Hay.

The lengths to which storytellers will go to get the story right, despite all the odds—risking personal and professional failure to see a project through to its completion, without compromise or apology. A legendary tale behind a legendary film—and the small cast of creative characters behind the scenes.

With big shouts to the small army of Village Playhouse volunteers who worked behind the scenes to put this production of Moonlight and Magnolias on the stage, featuring stage manager Margot Devlin at the helm, keeping the show up and running from the booth.

Moonlight and Magnolias continues at the Village Playhouse to February 2; advance tickets available online or by calling the box office at 416-767-7702.

*Mindful of peanut allergies, the production uses fake plastic peanuts.

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Secrets, schemes & stamps in sharp & darkly funny Mauritius

Philip, Dennis, Jackie
Derek Perks (foreground), with Douglas Tindal & Rebecca De La Cour in Mauritius – photo by Bill Michelson

Sometimes a stamp isn’t just a stamp.

A pair of rare postage stamps becomes a catalyst for hopes, dreams and desires in The Village Players’ production of Theresa Rebeck’s Mauritius, directed by Michael Hiller, which opened at the Village Playhouse last night.

Estranged step-sisters Jackie (Rebecca De La Cour) and Mary (Tina McCulloch) are reunited following the death of their mother, and discover Mary’s grandfather’s stamp collection as they sort through their mother’s things. The two have very different perspectives of both the stamps’ ownership and destiny. When Rebecca’s attempt to get the stamps appraised is rebuffed by the owner/operator of Phil’s stamp shop (Douglas Tindal), Phil’s friend Dennis (Derek Perks) comes to her assistance. He finds the collection extremely interesting – interesting enough to contact the wealthy and shady Sterling (Robert Woodcock), an extreme stamp aficionado, to broker a deal.

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Derek Perks & Robert Woodcock – photo by Bill Michelson

The Mauritius script has a Walker meets Mamet flavour – and the cast does an effing nice job of it. Tindal is dishevelled and Sphinx-like as stamp expert Phil; his shop, like its owner, is frozen in time (somewhere around the 70s) and understated in its seediness (set by Nadia Dziubaniwsky). Perks is delightfully wiry and wily as the fast-talking, likeable scoundrel Dennis; a smooth operator, and adept at sizing up people and situations, there’s more to Dennis than meets the eye. De La Cour’s Jackie is a tough cookie; assertive and brave, yet full of hurt and longing – and grasping at hope – under that brash exterior. Woodcock is a remarkable presence as Sterling; physically, psychologically and intellectually menacing, with a soft underbelly invoked by the stamps, his object of obsession and desire. And McCulloch brings some nice, complex layers of propriety, nostalgia and fierceness to Mary, who is deeply conflicted within her family dynamic and personal attachment to her grandfather’s stamp collection.

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Tina McCulloch & Rebecca De La Cour – photo by Bill Michelson

Each character’s response to the stamps reveals what he/she values: money, freedom, history, possession and legacy.

Secrets, schemes and stamps in The Village Players’ sharp and darkly funny Mauritius.

Mauritius continues at the Village until Jan 30; show dates/times and ticket info here. You can keep up with the Village Players’ goings-on on Twitter and Facebook.