Mack & Mabel

Jerry Herman’s magnificent and rapturous score played by an out of sight cohesive orchestra, which we learned later was at the back of the stage, creating a wonderful atmosphere as the audience faced a minimalist though highly effective open stage. Two large theatre lights and a director’s chair making it clear this was a studio. The show encompasses 20 years in the lives of silent movie actor and director ‘Mack Sennet’ and one of his stars ‘Mabel Normand’. Opening in 1929 at the end of the relationship when the “talkies” had superseded the silent era and ‘Sennet’ was virtually penniless.

At the top of the show ‘Mack’ took us back to 1911 and proceeded to recount the next 20 years in words and music. There were a number of superbly well timed interjections as Sennet in the role of a highly accomplished narrator with great effectiveness spoke to his audience and his story with ‘Mabel’ unfolded. This followed by the first of many delightful vocal performances - “Movies were Movies” and “I won’t send Roses”

A generation separated ‘Sennet’ and ‘Normand’ on age. He became her Svengali when as a young teenager in 1911 she joined the studios in Brooklyn New York.

The spark and chemistry between Andy Gilhooly ‘ Mack’ and Laura Synnuck ‘Mabel’ was evident from the first time they were seen on stage together giving their respective superb performances total believability from the start in a fictionalised account, though based on truth of silent-movie director Mack’s on-off relationship with his star, Mabel Normand.

Skilled support with great performances came from Abbi Jakeman as ‘Lottie Ames’, and Ben Leeke as ‘Roscoe ‘Fatty’ Arbuckle’, vocally and in some well-timed stage craft. There was an every bit wealthy impresario performance by Bruce Wyatt in the role of ‘William Desmond Taylor’ lofty both in height and characterisation .The full ensemble including “Big Time”, “Hundreds of Girls” and “Tap Your Troubles Away” helped give the show  pace and energy in the bustling chorus scenes.

Imaginative and extremely visionary direction supported by a highly competent cast made this production work at every level, including three inventive stage freezes.  Any potential big set changes were eliminated by the inclusion of indicative yet very effective stage furniture and props. Two roman pillars, a well-chosen prop with two wheels and a bench clearly depicting a railway carriage, superbly well-conceived splash of orange lighting for a Californian skyline and small gold footballs just some. Particularly special were three wide strips of complementary shades of blue satin - like material held and shaken at each end. This resulted in seemingly moving waves of water with Bathing Beauty dancers creating an inspired magical piece of choreography. That same choreographic brilliance deployed for the Keystone Cops scene and for the “Tap Your Troubles Away” Act two finale.

Not always the first choice of show for Societies, this production can be reflected upon by all at WODS as another triumph which above all was an exciting and thoroughly enjoyable piece of great entertainment.

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