Mack and Mabel

Thank you for your kind invitation to report on your recent production of ‘Mack and Mabel’, a rather tragic story about a Hollywood film director, Mack Sennett, and his new female star, Mabel Normand.  The story itself seems quite dark, with a few highlights of romance, song and dance along the way, so this was not a show full of razzamatazz, with the original run limited to just a few weeks. However, there was plenty of scope for good acting, dancing and creation of characters that the audience cared about.

The set was hired in, I believe, with space for the orchestra to be placed on a balcony at the back of the stage, with screening available when required.  The onstage painting of the scenery and horse was very effective, while the beach huts and harbour scenes looked wonderful!  The recreation of an early film studio was very good, with tripod camera, projector, film cans and stage lights creating the era of silent movies very well.   Some of the staging was very inventive, too, with a carriage that spun round and bright castellated beach huts, making continuity excellent.

The live music was superb, with good variety of mood, pace and volume, giving a lively backing to the singers and carrying the show well in the instrumental sections. The sound was very well handled throughout the show.  The costumes were very good, suitable, colourful and in period, while the wigs and hats added a beautiful touch. The Keystone cops were nicely dressed in blue uniforms, helmets and truncheons; the men in suits and women in period dresses all looked very good. As for the 1920s bathing beauties - they all looked stunning!  The props were all very well chosen, especially the pastel pink and blue suitcases, and fitted the period very well.  

However, on the evening of our visit, there seemed to be a slight lack of energy in the production.  At times, the action seemed a little laboured, the stage rather empty and the storyline a little unclear.  The energy levels always rose for the dances, and especially for the tap dances and Mabel’s solos, but it would have helped the audience to have a little more clarity as to what was happening within the story. The acting, singing and movement were very good, although at times I found it hard to hear the script – which further contributed to the unclear storyline.

The choreography for the dances was extremely good and creative, with a wide variety of moves and rhythms used.  The American accents were good, although some weakened towards the end of the show – or did I get used to them?  There was a good variety of characters who were well played individually while the singing and characterisation was, as ever, very good, as discussed below:

Mack:  Well portrayed as brash, self-opinionated and too obstinate to admit loving Mabel until too late.  The character’s self-esteem is brought out well, particularly in the song “Movies Were Movies” and in his character-defining number “I Won’t Send Roses.”  A forceful performance

Mabel:  Very well depicted as obsessed with Mack and restricted by her fear of losing him.  She at last shows defiance and spirit in the song “Wherever He Ain’t” but is heart-broken as she sings the hauntingly sad ”Time Heals Everything.”  An excellent performance illustrating a wide range of emotions.

Lottie:  A lively and energetic performance with strong singing and rhythmic dancing, especially in the number “Tap Your Troubles Away.”  

Frank Wyman: It is always a pleasure to see this actor onstage, as a convincing and believable character.

Fatty Arbuckle: This was a good portrayal of this larger than life character who plays the film comedian. 

The trio with Mabel and Frank “Look What Happened to Mabel” was very well performed.

The two accountants, Mr Bauman and Mr Kessel: These were a well played duo who enabled the company to succeed and expand. Smaller parts but very well interpreted. 

The Pianist: This character was important in adding a real Twenties feel to the show.  A lovely touch!

The Chorus:  This was the powerhouse of the show, as the chorus gave shape and form to the action.  The tap-dancing, cartwheels, gymnastics and slapstick comedy were spectacular and the pies in the face number, building slowly from a visual joke to noisy mayhem was a delight.

This was a big musical to stage in the wonderful Theatre Royal with an intriguing if slightly dated  storyline.   Many of the elements for a really stunning show were present, with great music, good sound and scenery, wonderful costumes and props, and fabulous choreography.  It was just the lack of energy and the rather unclear storyline that for me left things a little flat on this occasion. However, as this was the first day of performance, I am sure that the normal very high standard of performance was present for the rest of the run.  Well done! 

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