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Musicals

Any production at a place like Greenwich Theatre which involves thirty-eight charismatic youngsters is a success, simply by the fact it gives so many hopefuls a chance to perform in a professional theatre. Mack & Mabel is both a wise and difficult choice for such a feat, but luckily the directive strength of The Company have ensured that the actors look as seamless as Broadway.

Mack & Mabel is a mid ‘70’s nostalgia musical about a man at the birth of the cinema industry, trying to keep things fun and frisky, and in his eyes, how it should be. The plot is achingly predictable, but that's not what the show's for. It's the tongue-twisting lyrics articulated over a jaunty score which provide the delight for the audience, and despite tiresome Americanisms about corn beef and dimes, the meticulous punctuation from the cast keep the ear tuned in. It's no wonder that Mack & Mabel has often been reproduced in-part, that is, songs being performed in variety shows or taken up for dance routines by Torvill and Dean, but the flurry of energy which sweeps up the yawns from the dialogue scenes ensures that the audience is never left hanging for long.

The actors perform with style and passion, battling their way through the brash sentimentality of the script by adding a zesty youthfulness and unfettered confidence. Alex Knox sings with heart and determination as the wily and headstrong Mack Sennet, as his fierce, jabbing dialogue captures the ambitious despotism of anyone obsessed with achieving the American Dream. Jessamy Stoddart provides an enchanting accompaniment to Knox's lead as the rags-to-riches Mabel Normund. Her voice meanders through the score with intelligent expression and her character development from innocent to delinquent is the most convincing impression of humanity in the piece.

The main shame about such a production is that it fails to give many others in the talented cast a chance to shine. Luke Leahy's Frank Capra introduces the most interesting song in the show, ‘When Mabel Comes Into The Room’, with an eloquent solo, while Kitty Murdoch as the tap-dancing Lottie equals the protagonists' performances in her rare moments in focus. Though, with a cast of thirty-eight, it would be nice to see the director draw on a wider pool of talent. It is of course the script which excludes this, but it makes you wonder whether a group like The Company, which champions the exposure of young actors, should be slightly more creative in their choice of production, in order to allow a more democratic delivery. Having said this, the minor role of Fatty Arbuckle didn't stop Archie Sullivan from electrifying each of his scenes with a quirky demeanour and boisterous elocution – it’s great to see young actors carving their own moves.

Naturally, such a production couldn't live up to its historical West End status without a skilled production team. Luckily, frolicking choreography from Lee Crowley gives the eyes a target as Dan Swana's frisky musical direction brings life to the notes on the stave. Tom Paris' costumes are noticeably original without being absurd while his set's simplicity and mobility is well suited to the hoard of bodies swarming the stage. Confident touches from director Ben Occhipinti, such as bringing Mack up into the stalls to give a double-point of focus, are attractive, and work well enough to demand more of this off-stage/on-stage carousel.

Ultimately, The Company should be proud of creating such a professional-standard musical, and the actors especially will hopefully feel inspired with their work. The sad thought is that we have to go to 1970’s Broadway to find a suitable show for this talented young group. Mack & Mabel may be airy and frivolous, and of course a noted historical success, but one hopes the young faces singing the songs at the Greenwich Theatre will search for more creative and timely avenues in which to explore their passion for what can often be the narrow headlights of repetitious musical theatre.