"The Kids From Keystone Are The Kids No Longer!!!!!!!!!!!!!!!!!!!!!!!!!!!!!"

                               Our vacation came to an unexpected highlight of an ending last week, when we went to see the ENCORES! production of Jerry Herman's overlooked gem, "Mack And Mabel."

                                Like many, I had come to love this show through the Original Cast Recording, with Robert Preston and Bernadette Peters, (!!!!!!!!!!!!) which my father actually bought for me.  But, when the show opened at the Majestic Theatre, back on October6, 1974, I actually had tickets to see it.  But the show closed on November 30 of that year, and my ticket was for beyond that, so I never got to see "Mack And Mabel" until now.

                                Darlings, it was the Musical Theater Event Of The Season!  Not knowing what to expect, I walked in, prepared to hear a great score, but unprepared for the underlying darkness and tragedy surrounding it.  Whenever the orchestra burst into "I Won't Send Roses," (sung beautifully by Douglas Sills and exciting newcomer, Alexandra Socha) tears came pouring down my face.

                                 "Mack And Mabel" is a love story of two people who clearly love each other, yet cannot live together.  Mack Sennett, of silent film fame, cannot express what he feels beyond the art of his movies, and cannot adapt to that medium's constant bouts of change, which finish him professionally.  Mabel, while adaptable, is vulnerable, and her moving on leads into a tragedy filled with alcoholism, drug addiction, and scandals.

                                   Watch the joyous number "Tap Your Troubles Away," the staging, by the talented director and choreographer Josh Rhodes, and see how much "Follies" influenced it.  Watch carefully for Socha's appearances here as Mabel.  Each is a deeper descent into addiction, easily missed by the joyous lyrics and staging that she slips in and out of.  Indeed, when Mack is finally confronted about Mabel's addictions, he is reminded that on his films she needed pills to get through his pace, and I recall subtle staging, where between takes, she is gulping down water and swallowing  something.

                                    So, yes, it is a dark show.  And I always said, dark shows, while underrated, are the best.

The chemistry between Sills and Socha is palpable, all the better to convey the tragic impossibilities of their romance.  Their voices are glorious, and all their songs have the vocal beauty and dexterity that honor this show superbly.

Miss Socha is a revelation, going from the show stopping "Look What Happened To Mabel," to the torchy "Time Heals Everything" in a way that never channels Peters, but makes them her own.  I will be interested in seeing what projects she does next.  As Mabel, she is something and someone to watch.

So is the supporting cast--Lilli Cooper as Lottie Ames--the Lisa Kirk role--who does both "Tap Your Troubles Away, and the Act One "Big Time" with show stopping aplomb, Michael Berresse as the sleazy William Desmond Taylor, and Ben Fankhauser as Frank Wyman, whose lead-in on "When Mabel Comes In The Room" is so heartfelt one almost weeps.  And his chemistry with Socha is theatrically perfect.

I wept at the conceptual beauty of the show, taking place in Sennett's mind, with the shut down set a metaphor.  I am so glad I got to see this production of the show, as I have heard of others not so reverent to the property, even daring to give it a happy ending.

The show ends as it should.  But when it leaves, the audience knows it has witnessed an underrated classic of the American Musical Stage.

I wish I could urge you all to see this, but, being ENCORES!, it ran only from Feburary19 through the 23rd!

If only it would move to an open end venue.  But I have heard nothing.

For those having seen it, like me, consider it a privilege!!!!!!!!!!!!!!!!!!!!!!!!!!

And welcome to Broadway, Miss Socha!  It is a pleasure to have you!

 

Here is a two minute excerpt, to give you an idea of the brilliance missed!