Mack and Mabel

 

I always look forward to a Carlton Operatic production and once again with Mack & Mabel, the production team, cast, orchestra and crew have delivered another classic musical with skill, enthusiasm, technical excellence and love.

Although it is a temptation to discuss the on-stage and, in this production, on-screen performances, I wanted to first of all congratulate the production team.  Chris Rees once again demonstrated why he is, I believe, simply the most accomplished Musical Director in the whole of the region.  From the opening overture through every vocal performance from Principals, Family, Feature Roles and Ensemble the precision of delivery, dynamics and sensitivity to the vocal performance was a pleasure to experience.

Having also previously experienced first-hand the choreographic precision and attention to detail of Rachael Rees it was no surprise to see the exuberant, technically challenging and enthusiastic execution of the tap and other numbers by the whole cast, which is no easy feat…

Sarah Walker-Smith very successfully manged to bring the feel of Silent Movie to every aspect of the production, from the brilliantly executed sepia film inserts (which avoided the cliché of “grainy film”) through the costuming and stylized over exaggerated film acting for the two-reeler’s.  Sarah also managed to deliver the contrasts in the fortunes of the key characters as their respective story arcs making these very believable.

Graham Ward throughout the production delivered a forceful Mack. Sympathetic at times, frustrating, self-aware yet unable to let anything get in the way of his desire to deliver as many films as possible, as fast as possible and their ultimate success measured in box office takings.  Sarah Millington was a completely believable Mabel, from sandwich seller, to enthusiastic cast member, movie star and finally a tragic drug addict.   

The ‘Extended Family’ all added their individual contributions to the overall production.  This was very much an ensemble team who all added to the success of the production so I won’t mention every performer individually however I must call out Sean Goodwin’s Charlie Chaplin which was well observed and refreshingly not too exaggerated, Ross Lowe, who brought exactly the right level of sleaze to his William Desmond Taylor and Helen Tunnicliffe who made me laugh out loud on a number of occasions as Miss Jones.    

The Ensemble, Bathing Beauties, Movie actors, Tappers and Keystone Cops all provided great impact to the production as did the sound, lighting and incredible orchestra who ensured that the cast had a superb lighting, staging and musical soundscape to show off their acting and vocal talents.

Congratulations one and all, and here’s to Shrek in 2020

Martin Holtom

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