Mack & Mabel is a musical with a book by Michael Stewart and music and lyrics by Jerry Herman. The plot involves the tumultuous romantic relationship between Hollywood director Mack Sennett and Mabel Normand (transformed from an artist's model to a waitress from Flatbush, Brooklyn, for the musical), who became one of his biggest stars. In a series of flashbacks, Sennett relates the glory days of Keystone Studios from 1911, when he discovered Normand and cast her in dozens of his early "two-reelers", through his creation of Sennett's Bathing Beauties and the Keystone Cops to Mabel's death from tuberculosis in 1930.
The original 1974 Broadway production produced by David Merrick starred Robert Preston and Bernadette Peters. It received eight Tony Award nominations, including Best Musical, but did not win any. There was no nomination for Jerry Herman's score. Although the original production closed after only eight weeks, the songs were praised, and subsequent productions, especially in Britain, have had success.
Background and productions Edwin Lester, the director of the Los Angeles Civic Light Opera, suggested the project to Jerry Herman, who then involved Michael Stewart. David Merrick agreed to produce, and Gower Champion was engaged to direct and choreograph. Although Champion had initially declined the offer, he eventually accepted, especially when it was decided to hold the pre-Broadway tryouts in California. Robert Preston was hired as Mack. For the role of Mabel, several actresses were engaged and then let go, including Marcia Rodd and Kelly Garrett, before the young Bernadette Peters finally joined the cast.Stock, Ellen. "Mack and Mabel". New York Magazine, October 7, 1974
Pre-Broadway tryouts Mack and Mabel opened in pre-Broadway tryouts in San Francisco on June 17, 1974Gilvey, p. 250 and then Los Angeles, with brisk box office sales in both cities. According to The New York Times, " 'Mack and Mabel' has been doing rather better than its probable guarantee [in Los Angeles] – up to $150,000 in its final seven-day period."Kerr, Walter. "Broadway, the Exhibition Center", The New York Times, September 1, 1974, p. 87 The musical received reviews that ranged "from fair to phenomenal in San Diego, Los Angeles, and St. Louis". The Los Angeles reviews were "encouraging but guarded", and warned "of the excessive comic sequences, uneven book, and, most especially, the dark ending." Buoyed by the critical response and initial public enthusiasm for the show, Herman and company ignored a number of warning signs. Neither Sennett nor Normand was a particularly lovable character, and their story was darker than that usually found in a musical. Preston (as Sennett) was too old for Peters (Mabel), and their characters lacked chemistry.Long, Robert Emmet. Broadway, the Golden Years: Jerome Robbins and the Great Choreographers (2003), Continuum International Publishing Group, , p. 211 Champion devised a number of eye-catching visual effects and spectacular dance sequences set to Philip J. Lang's orchestrations, but their brightness proved to be too great a contrast with the somber mood of the piece. His concept of setting the action in the corner of a huge studio soundstage created problems with the set and limited the staging to the extent that it was seen as static and boring.Citron, p. 198 Audiences "were not ready for a down-beat saga about a cocaine-sniffing movie queen."Goers, Peter. "Jerry Herman In Tune With Broadway", The Advertiser, January 30, 1988 (no page number)
Efforts were made to resolve the problems at The Muny in St. Louis, where the musical ran for one week starting August 19, 1974,Thompson, Howard. "News of the Stage", The New York Times, August 18, 1974, p. 40 but this venue was a "terrible mistake". Because The Muny was so large, the performers overplayed and pulled the show out of shape. By the Washington, D.C. Kennedy Center engagement, "nothing was working", and Champion changed the staging of scenes that had previously worked.Citron, p. 200 Richard Coe in his review for The Washington Post stated that it had landed at the Kennedy Center "with all the zip of a wet, very dead flounder."
Broadway The musical opened at the Majestic Theatre on Broadway on October 6, 1974, and closed on November 30, 1974, after 66 performances and six previews. Scenic design was by Robin Wagner, costume design by Patricia Zipprodt, and lighting design by Tharon Musser. In addition to Preston and Peters, the cast featured Lisa Kirk as Lottie Ames and James Mitchell as William Desmond Taylor."Internet Broadway Database listing, 'Mack and Mabel', Majestic Theatre, 1974" Internet Broadway Database Listing, retrieved December 16, 2010Kerr, Walter. "'Mack and Mabel' Makes Gloomy Stage Music", The New York Times, October 13, 1974, p.155Hischak, Thomas S."'Mack and Mabel'", The Oxford Companion to the American Musical (2008), Oxford University Press US, , p. 460(books.google)The Oxford Companion to the American Musical (2008). Retrieved December 16, 2010Citron, Chapter 10 (pp 183-205). Retrieved December 16, 2010Kissel, Howard.David Merrick, The Abominable Showman:the Unauthorized Biography (1993), p. 538(google.books) David Merrick, The Abominable Showman:the Unauthorized Biography (1993), Hal Leonard Corporation. . p. 538. Retrieved December 16, 2010
Despite only fair reviews and the short run, the show received eight Tony Award nominations: for Best Musical, the book, direction, choreography, lead actor, lead actress and designs but did not win any. Herman, whose melodic score had received the best notices, was not nominated. He was deeply disappointed, since the project had been one of his favorites (and remained until the end of his life), and he felt producer David Merrick had done little to promote it, saying "He never invested in advertising. He never came to the theatre." Herman had turned down three film offers before its Broadway opening, later commenting early in its New York run that he believed he was then in a "stronger position."Kleiner, Dick. "Jerry Herman is Still Writing Whistlin' Tunes" (NEA syndicated article). Oswego (NY) Palladium-Times, 10 August 1974, 7. Despite its failure, the show has developed a cult following.Citron, p. 202
Subsequent productions
Mack and Mabel was first produced in England in 1981 at the Nottingham Playhouse. The production starred Denis Quilley as Mack and Imelda Staunton as Mabel; it had a successful run but failed to transfer to the West End."'Mack and Mabel' History" Durham Musical Theatre Company, accessed January 29, 2011" 'Mack & Mabel' listing, Nottingham Playhouse, 1981" broadwayworld.com, accessed January 29, 2011 Soon afterward, British ice-skating team Torvill and Dean, who were based in Nottingham, searched the music library at the local radio station for suitable material for their routines, and discovered a recording of the original cast album. When they won the gold medal for ice dance in the World Figure Skating Championships in 1982, they performed to the Mack and Mabel overture. Later, the routine was broadcast by BBC Television during the 1984 Olympics, with the British public demand so great that the album was re-released in the UK, where it reached number 6 on the charts.Gilvey, p. 252
In February 1988, a one-time concert, featuring George Hearn, Georgia Brown, Denis Quilley, Paige O'Hara, and Tommy Tune was staged for charity at the Theatre Royal, Drury Lane, London. A cast recording was released." 'Mack and Mabel In Concert' listing dresscircle.co.uk, retrieved July 2, 2010"'Mack and Mabel in Concert' recording review by William Ruhlmann, All Music Guide" answers.com, retrieved July 2, 2010
1995 West End On November 7, 1995, a full-scale production opened at the Piccadilly Theatre in London, and ran for 270 performances. The book had been dramatically revised, including a happy ending, with Mabel back in Mack's arms at the final curtain. The show was directed by Paul Kerryson and choreographed by Michael Smuin, and the cast included Howard McGillin as Mack and Caroline O'Connor as Mabel, Kathryn Evans, and Alan Mosley.Wolf, Matt.Variety review of 1995 London productionVariety, November 13, 1995
2005-2006 Watermill and West End The show was revived at the Watermill Theatre, in Newbury, England. David Soul starred alongside Anna-Jane Casey (replaced by Janie Dee in the West End production) in the small-scale production (with only eleven performers), which ran for a limited season between March and June 2005.Newbury Theatre reviews, 2005. Newburytheatre.co.uk The show then toured the UK from January 2006 prior to a West End transfer, where it played at the Criterion Theatre from April 10, 2006, until July 1, 2006. It featured the trademark style of director John Doyle, with the cast members, except for Soul, playing musical instruments as well as acting and singing.Loveridge, Charlotte."Curtain Up review, Criterion Theatre" curtainup.com, April 11, 2006
2007 and 2008 productions The show was produced at the Shaw Festival Theatre in Niagara-on-the-Lake, Ontario in 2007. Directed by Molly Smith, this production eliminated the use of projected film as called for in the script. Instead, monochromatic costumes and special lighting were used to produce the effect of silent film while using live actors on stage. The result was a seamless blend between silent film scenes, and full color. Shaw's presentation was the first full production in Canada and was in repertory at the Festival Theatre until October 28, 2007.Ouzounian, Richard."Review of Shaw Festival production"Variety, May 15, 2007
The Broadway Theatre, Catford, London, UK, produced the musical from November 2008 through December 2008, starring Karl Clarkson (Mack), Gemma Boaden (Mabel) and Sean Pol McGreevy (Frank), directed by Artistic Director Thom Southerland."'Mack & Mabel' listing, 2008". Whatsonstage.com, retrieved May 23, 2010Green, James. thestage.co.uk, 21 November 2008 Southerland had assisted John Doyle with the 2005-2006 production./ Thom Southerland (personal website)
2011 The Company Music Theatre produced a short run of the show in August 2011 at the Greenwich Theatre, London, directed by Ben Occhpinti, choreographed by Lee Crowley, with Musical Director Dan Swana."'Mack and Mabel'" whatsonstage.com
2012 It was revived in July 2012 at the Southwark Playhouse, under the direction of Thom Southerland, with choreography by Lee Proud. The title roles were played by Norman Bowman and Laura Pitt-Pulford, with Jessica Martin as Lottie, Stuart Matthew Price as Frank Capra and Peter Kenworthy as William Desmond Taylor.
2013 Musical Theatre West in Long Beach, California performed a concert version at the Carpenter Performing Arts Center on May 20, starring Davis Gaines, as Mack Sennett, with direction by Larry Carpenter, choreography by Karl Warden and musical direction by John McDaniel. Eldorado Productions performed Mack & Mabel at The Bob Hope Theatre in Eltham, south east London, from 9 to 12 October 2013, with Neil Whitaker as Mack and Jo-jo Butler starring as Mabel, directed by Jeanette Wallis; this production included the original ending.
2015 Chichester Festival Theatre in West Sussex, UK presented a new production from 13 July to 5 September 2015, with a UK tour following from 1 October to 6 December 2015. The musical starred Michael Ball as Mack Sennett and Rebecca LaChance, with direction by Jonathan Church, choreography by Stephen Mear and design by Robert Jones."'Mack and Mabel'" playbill.comBrennan, Claire. "Review"The Guardian, 26 July 2015
Porchlight Music Theatre, Chicago, Illinois, presented Mack and Mabel in May 2015, as a part of "Porchlight Revisits", in which they stage three forgotten musicals per year. It was directed by Michael Weber and music directed by Beckie Menzie.
2018