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Frankly, Dears, Make Date To See This Knee-Slapper

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By KATHY L. GREENBERG, Tribune correspondent

Published: January 24, 2008

Updated: 01/23/2008 05:33 pm

TAMPA - American Stage Theatre Company is staging a production that rivals the hilarity of last year's "The Big Bang." "Moonlight and Magnolias," by Ron Hutchinson, is a farce about making the film "Gone With the Wind," and whether you loved or hated the movie, this play, directed by Drew Fracher, is just too funny to miss.

In 1939, producer David O. Selznick stopped work on "Gone With the Wind" three weeks into production because he didn't like the script. He pulled director Victor Fleming off "The Wizard of Oz" to replace George Cukor and hired Ben Hecht to rewrite the screenplay, originally titled "Moonlight and Magnolias."

In real life, Selznick and Hecht churned out a new version in about a week and a half, though the details of that process are somewhat sketchy.

Hutchinson's take on events is wildly imaginative and likely an affront to Hollywood historians and/or devoted Margaret Mitchell fans.

The play opens with a frantic Selznick (Bryan Barter) trying to get the movie made the way he wants. He invites Hecht (Matthew McGee) to his office to convince the skeptical writer to help him. Even though Hecht has never read the book, he agrees to rewrite the script but limits his commitment to five days.

Once Fleming (Christopher Swan) shows up, Selznick is ready to begin work. He orders his frazzled secretary, Miss Poppenghul (Susan O'Gara), to supply bananas and peanuts for brain food and then lock the door from the outside.

Trapped like monkeys in a gilded cage, the men have no choice but to create the movie that is beloved (and loathed) by millions today.

Barter has tremendous energy as the driven, controlling producer. He shows broad range as he and Swan act out scenes that McGee's character translates to the page. One minute he's a pouty, bratty Scarlett O'Hara, and a split second later he's the simpy Ashley Wilkes. His manic mannerisms and quixotic facial expressions convey an unwavering idealism, which makes for a character who is easy to root for.

Meanwhile, Swan has no chance to live down his unabashedly unnatural imitation of Melanie in labor. It takes a brave male actor to thrust out a baby and just as quickly transform into Prissy, who "don't know nothin' 'bout birthin' babies."

Swan also is great at slapping McGee - literally and figuratively - with sharp wisecracks and pithy putdowns.

As the writer, McGee is usually the eye within the other actors' maelstrom of activity. But he doesn't need to be part of the frenzy; he gets some of the biggest laughs with the slightest gesture or look. He's charming, with perfect comedic timing, and brings a levity to the play through his character's moments of ethical reflection.

The cherry on this gorgeous cake is O'Gara. She may not have a lot of lines - "Yes, Mr. Selznick. No, Mr. Selznick" - but she packs a wallop with her physical comedy.

In one spectacular scene, complemented by Lea Umberger's rich set design and Beau B. Edwardson's lighting, O'Gara lifts the lowly banana to a status it doesn't deserve - much like Scarlett's beady-eyed potato.

I will write no more, save this: Run, walk, crawl if you have to, but go see this play.

THEATER REVIEW

Moonlight

And Magnolias

WHEN: Through Feb. 10; 7:30 p.m. Tuesday through Thursday, 8 p.m. Friday, 3 and 8 p.m. Saturday and 3 p.m. Sunday

WHERE: American Stage Theatre Company, 211 Third St. S., St. Petersburg

TICKETS: $22 to $35, depending on date and time of performance; (727) 823-7529;

www.americanstage.org

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