BWW Reviews: MACK AND MABEL Revises the History of Early Hollywood But Captures Its Spirit

Namesakes must be put aside.

In her heyday, Mabel Normand was called the female Charles Chaplin - an awkward designation for a comedienne who served as Charlie's mentor. Normand often worked with Hollywood luminaries like Chaplin, D.W. Griffith, Roscoe "Fatty" Arbuckle, and Mack Sennett. She often co-directed and co-wrote her films with her male co-stars. She was one of the most popular and talented comedic actors of her time, and she deserves to be heralded as one of our filmic foremothers. Instead she is an unsung hero.

In Michael Stewart and Jerry Herman's MACK AND MABEL, she continues to be unsung. Michael Stewart's book credits Mack Sennett with "discovering" Mabel Normand. In the fictionalized story, Sennett saves Normand from her drudgery of a job as a delicatessen delivery girl. Truth with a capital "T" is what we look for in a fictionalized work about real-life figures. Sennett discovering Normand as a delivery girl is nowhere close to Truth. Book writer Stewart could have at least given Normand's parents some credit. After all, Normand was a backstage kid. Frankly, it's a very one-dimensional, sexist interpretation of the actress' life.

Mack Sennett is similarly misrepresented. Sennett was an accomplished, intelligent director whose old school filmmaking techniques carried him beyond the silent film era. The King of Comedy was a far cry from the sad sap director destroyed by the "talkie" that Stewart portrays him as.

The point of this semi-eulogy is that this musical extravaganza is not about Mack and Mabel. MACK AND MABEL is a love story between a director who can't be anything but what he is and an actress who can't figure out who she is. More deeply, it is a story about the turbulent relationship between Hollywood and cinema. And like Normand, in addition to being smart, it's funny too.

Music and lyrics by Jerry Herman serve as the perfect backdrop to this story. Herman captures the spirit of the period between 1910 and 1920.

Director Kenn McLaughlin's production has many moving parts - crystal clear projections by Kevan Loney, mobile set pieces, elaborate dance numbers. Stages' compactness is advantageous here. Even after the explosive rise of Hollywood, the musical still feels like a powder keg. The anticipation is painfully good. Think of the 'pagne' in champagne. And, outside of the lengthy overture, the piece was a whirlwind, a perfect representation of Hollywood's dizzying rise and fall. McLaughlin also does a great job of making washed-up jokes laundry fresh.

The first cast of MACK AND MABEL included the venerable Robert Preston and Broadway star Bernadette Peters. This is a show that requires triple and quadruple threats. This cast gives it to you. Cast member Brandon Whitley not only dances and sings to portray his character, Frank, but he also plays the saxophone. Ensemble member Fong Chau plays the saxophone, clarinet and flute.

Bridget Beirne is wonderful as pure as the driven snow Mabel as well as cynical, seen-it-all Mabel. Her fiery rendition of "Wherever He Ain't" will leave you burning up. And there's more where that came from.

Tom Frey is the no nonsense, economically driven Mack Sennett. He's fantastic as a piano playing, high kicking, serenading Svengali. However, there are some minor elements missing in his performance. When he's bad, he's good. But his character's good is somewhat lacking. In his performance, it's hard to see the swagger that makes Mack Sennett so attractive as well as the slight vulnerability and moon-eyed aching that makes him sympathetic.

I only wish that I could have seen more of Kristin Warren as Lottie. Her jazz tap number, "Tap Your Troubles Away," was a crowd favorite.

Credit should be given to the musicians and the ensemble. They did not get the glamour and the glory, but they were a part of what made MACK AND MABEL so glamorous and glorious.

Like the early years of filmmaking and Hollywood, the production is gutsy and earthy with a coat of polish. Fun music and lyrics, strong performances from the multi-talented cast along with strong behind the scenes performances make MACK AND MABEL a visual delicacy and an aural treat.

The Stages Repertory Theatre production of MACK AND MABEL runs May 20 - June 28. Performances are Wednesdays and Thursdays at 7:30 p.m., Fridays and Saturdays at 8:00 p.m., and Sundays at 3:00 p.m. For more information, please call 713.527.0123 or visit www.stagestheatre.com.

This show is approximately 2 hours and 30 minutes long, with one intermission.

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