This glitzy, joyous revival is a fitting tribute to the late, great Jerry Herman
This superb revival of Jerry Herman’s musical is the first in this country since 1969. Following the story of big-hearted, impulsive Mame, her protegés and reversals of fortune as the roaring 20s give way to the Great Depression and the war-torn 40s, it’s hard to see why the wait has been so long.
True, it requires a special performer in the title role and happily Tracie Bennett has more than enough warmth, charisma and lung power to light up the stage. The action also calls for dizzying scene changes, from Grand Central Station to swanky New York apartment, from the lawns of Deep South plantation aristocracy to the mansions of wealthy West Coast snobs.
Director/choreographer Nick Winston and designer Philip Whitcomb are on it from the get go. Apparently effortlessly, this strongly cast company of 20 ‘triple threats’ conjure a subway train; and in a lightning lighting change (courtesy of Whitcomb) switch to high society, high-kicking flappers and their beaux, downing prohibited cocktails between their Charleston moves. They handle Herman’s big brassy score with gleeful panache.
Mame’s is essentially the story of extraordinary resilience and resourcefulness, of altruism and sheer chutzpah, all embodied by the unashamedly hard-drinking, easy-going woman at its heart. Taking on her 10-year-old orphaned nephew Patrick (delightfully appealing and talented Lochlan White, one of three young actors sharing this meaty role) and fitting her rackety lifestyle round him? No problem. It’s clearly a case of mutual love at first sight. Combatting the efforts of the officious executor of her late brother’s estate (scarily unbending Hugh Osborne) to send the youngster to a strict boarding school is more of a challenge. But Patrick is a fast learner and together he and his auntie outwit all comers.
Even losing everything in the Wall Street Crash cannot crush Mame. She gets a cameo role in musical revue thanks to bestie and fellow lush, big-voiced diva Vera Charles (Harriet Thorpe, a hugely exciting stage presence), but she’s a one-night wonder thanks to being discovered centre-stage, cocktail in hand. Though when her first (and last) customer as a disastrously clumsy novice manicurist is a wealthy beau who falls for her bigtime, her future seems assured. Darren Day’s ardent, charming Beauregard, niftily light on his feet, proves a perfect partner to Bennett’s Mame.
Without revealing too much about further twists of fate awaiting Mame, suffice it to say love, good humour and high spirits conquer all as the story unfolds with an appealing mix of pathos and madcap fun.
The timespan means that young Patrick morphs into Chase Brown’s older Patrick with the swish of a curtain. Brown convincingly handles his progress from adolescent to suitor, falling for disastrously bigoted debutante Gloria (gleefully uppity Grace Chapman) to Mame’s utter horror.
Mame’s loyalty to her personal entourage, especially Girl Friday Agnes (played with comic panache by Jessie May) and righthand man Ito (Benjamin Wong, a real charmer), is reciprocated and pays dividends to help assure a satisfactory ending. After a standing ovation, Bennett paid tribute to Mame’s late, great composer/lyricist. This life-affirming production does Jerry Herman proud.
By Judi Herman
Photos by Pamela Raith
Mame: Life’s a Banquet runs until Saturday 11 January. 7.45pm, 2.30pm (Thu & Sat only). £24-£40. Royal & Derngate, Northampton, NN1 1DP. www.royalandderngate.co.uk
Tuesday 21 – Saturday 25 January. 7.30pm, 2.15pm (Thu & Sat only). £14-£30. Salisbury Playhouse, SP2 7RA. www.wiltshirecreative.co.uk
Listen to our interview with the show’s producer Katy Lipson on JR OutLoud.