Moonlight and Magnolias

Gone with the Wind is an iconic American story with the 1000-page novel by Margaret Mitchell earning a Pulitzer Prize in 1937. Exploring politics, romance and contentious issues including human rights, it sold more than 30 million copies worldwide. The nearly four-hour movie adaptation in 1939 was also a great success, boasting one of cinemas most often quoted lines, ‘Frankly my dear, I don’t give a damn’, which is cleverly built into the script of Moonlight and Magnolias, currently being performed by The Rep.  The film won the 1939 Academy Award for Best Picture and broke the record for the highest earning film ever when released, but few realise that it nearly didn’t make it to the screen.

Based on the true story, Ron Hutchinson’s Moonlight and Magnolias takes place in the late 30’s in the offices of Hollywood’s acclaimed film producer, David O Selznick (Adam Schulz), son in law of MGM’s reputedly tyrannical co-founder and manager, Louis B Mayer. Selznick has a problem: his massively hyped production of Gone With The Wind has been shut down and despite big stars being hired, has crumbled under the weight of an unfilmable script. With renowned writer Ben Hecht, (Terry Crowe) who hasn’t read the book, and celebrated director Victor Fleming (Scott Battersby), who is still trying to tame the munchkins and direct The Wizard of Oz; and with a diet of bananas and peanuts, he locks the three of them in his office for five days to create a screenplay that will save the film.

Veteran director Harry Dewar has focussed on developing slick timing and at times, frenetic movement to create a sense of urgency. Lighting Design by Richard Parkhill, as usual, embraces every subtle detail needed and Skye McVicar’s stylish Art Deco style set, despite the missing keyhole for the key, is sumptuous, featuring period-appropriate doors and windows. Props and furnishing details are not quite correct, but this does not distract from the executive look of the office. Costumes suggest the period, but when the men remove jackets, very modern clothing is revealed. Subtle factors like women always wearing stockings for office and street wear have been missed on Mss Poppenghul, played by Rebecca Gardiner. The tight interaction between the three men makes this role somewhat underdone and superfluous.

Schulz has turned his talent to a wide range of roles and genres over the last two years, and this has paid off with him delivering a confident, well thought out portrayal of Selznick. He sustains the accent effectively, is aptly bombastic when needed and is warm and persuasive in clinching the deal with Fleming and Hecht.

Crowe brings a strong sense of comedy to beleaguered Hecht. He moves around, seemingly uncomfortable in his own skin, and finally settles to add his genius touch, at the typewriter.

Battersby is believable as the charismatic, but frustrated director, bickering comfortably and soothing competitive rifts with Hecht.

Moonlight and Magnolias, written in 2004, makes reference to what are currently hot potato issues, bravely including very appropriate Jewish ethnic references about Hollywood where the studios were, in the main, created by poor Jewish immigrants, with lines like, ‘Only the Jews would be crazy enough to build something here’, and ‘Hitler isn’t organised enough to run a studio!’ The subjects of war and slavery, the backbones of Gone with the Wind are also included in the context of 1930’s cinema and society.

What is so disappointing for me, was the relatively small audience size for this high-quality show presented by one of Adelaide’s oldest and most respected theatre companies. The theatre is warm and comfortable, there are laughs aplenty, the volunteer front of house staff are welcoming and the show is an excellent example of a curious story where theatre about film is entertaining and revealing.

Jude Hines

Disclaimer: Jude Hines is directing for The Rep in 2024.

Photographer: Richard Parkhill.