Saddleworth Players

Next play

Out of Sight, Out of murder

Sep 30–Oct 6, 2018

Coming up

The Pitmen Painters

Nov 24–Dec 1, 2018

Coming up

Playhouse Creatures

Feb 2–9, 2019

Coming up

The Thrill of Love

Mar 30–Apr 6, 2019

Coming up

Incorruptible

Jun 1–8, 2019

Review: We did give a damn

What an absolute joy to watch! Having come not really knowing anything about the play, and having not been to this particular theatre before, I did not know what to expect. I certainly did not know that I would laugh quite as much as I did for such a prolonged period of time!

My husband and I have been quoting the lines ever since and laughing randomly to ourselves - the performances by the cast were utterly brilliant and clearly very memorable! The interplay was slick, the dialogue snappy, have the physical comedy incredibly well directed.

No other film can have made such an impact as Gone with the Wind. The first feature film to come out wholly in glorious Technicolor with a star-studded cast headed by Clark Gable and Vivien Leigh, Gone with the Wind seemed to have everything, with its compelling love story played out against the epic struggle of the American Civil War. It has deservedly become a legend in the history of cinema and even today, there can be few of us who don't respond to its lush theme music or aren't familiar with the famous riposte: Frankly, my dear I don't give a damn!

Clearly a play exploring the creative process behind such an achievement could come up with some fascinating insights but would the material really hold our attention for a whole evening? Would those of us who had never seen the original film find disputes over the minutiae of the film's plotting and dialogue that enthralling? In short, would there really be more to it than the overly romantic if ironic title Moonlight and Magnolias suggested?

Such concerns were quickly dissipated by the hilarious opening as we witnessed the producer David O'Selznick'sgrowing incredulity that Ben Hecht, the scriptwriter, hadn't been one of the million and a half Americans to have read Margaret Mitchell's best seller. Not only was our interest to be engaged by the cut and thrust of three larger-than-life characters with enormously inflated egos, but throughout the evening the pace of the action would carry us breathlessly forward as one absurdity succeeded another.

At the centre of the action, Mark Rosenthal brilliantly captured the panache and self-assurance of the Hollywood mogul at the zenith of his career, brooking no opposition to his wildest schemes, whose sheer effrontery won over his colleagues despite their better judgment. Phil Clegg as the hapless put-upon scriptwriter was not only a foil to the mercurial Selznick but was convincing as a powerful exponent of the moral values he felt the others were ignoring at their peril.

A grumpy Vince Kenny as a successful Hollywood Director eager to escape hordes of unruly Munchkins on the set of The Wizard of Oz was cynical and at times vitriolic, yet basically committed to giving his all to wrest success out of the jaws of threatening failure.

We also had a delightful cameo performance by Lorraine Reynolds as Miss Poppenguhl, Selznick's personal assistant, whose primly obsequious appearances were not only amusing of themselves but served to remind us of a world outside the confines of Selznick's studio and thus emphasize the bizarre nature of the goings on we were witnessing when Selznick forced the team to go into purdah for five days.

As the play developed Selznick's flamboyant reliving of the story in a variety of roles led us seamlessly into the device of Selznick and Fleming acting out critical scenes from the book and providing Hecht with the basis for a script. The combination of their ham acting and personal tensions ratcheted up by sleep deprivation and their severely limited diet of bananas and peanuts gave the play an increasingly surreal quality with some unforgettable moments such as the beautifully choreographed slapping sequence and the birth scene with Fleming as Melanie being told to push harder by Selznick as Scarlett O'Hara.

Yet beneath the slapstick there was always a more serious undertow and Verity Mann as director is to be congratulated on the firm control of the production which enabled a deeper exploration of character and attitude to emerge, particularly towards the latter stages.

The set by Keith Begley was another great addition - wonderful and striking and completely in keeping with the time period.

We have enjoyed it so much that we have invited some more friends to come with us at the end of the week as it will be our last chance to see it before the run closes. If only we could get it on DVD...!

Antonia Kinlan , Oct 5, 2017