Thom Southerland's production of cult musical Mack & Mabel perfectly evokes the grit and glamour of the silent film era, writes Kerry Ann Eustice

Keystone Studios — one of the big-hitting early silent movie hubs — was the training ground and home to many a famous name.

A young Charlie Chaplin, Fatty Arbuckle and writer/director Frank Capra started out there all under the direction of the beyond prolific and original king of comedy, Mack Sennett, who devised slapstick phenomenon the Keystone Cops and glitzy dance troupe the Bathing Beauties and launched the career of comedienne and starlet, Mabel Normand.

Jerry Herman’s musical telling of Mack and Mabel’s tale traces the couple’s careers and destructive relationship.

It’s unconventional romance and more sombre tone (compared to the usual saccharine musical theatre fare) means the cult show is all too rarely performed.

But its previous outing at the Watermill Theatre, London in 2006, directed by John Doyle clearly made an impression on Thom Southerland – who assisted Doyle in the West End – as the hotly-tipped young director is back with his own glorious yet gritty production at The Broadway, Catford.

Southerland combines his eye for exquisite detail with the boundless flair of choreographer Steve Harris, whose set pieces — shameless song and dance explosions featuring Mack’s famous and milked-dry cash cows the Bathing Beauties and Keystone cops — steal the show and evoke the era perfectly.

Because of these showstoppers, leads Karl Clarkson (a strapping Mack) and Gemma Boaden (a loveable Mabel) have a lot to contend with.

Yet the magic, energy and glamour of the ensemble numbers contrasts well with unhappy encounters between Mack and Mabel, who shine brightest for the bittersweet, I Won’t Send Roses.

The supporting cast and ensemble are truly excellent, namely an understated Sean Pol McGreevy as writer Frank Wyman (aka Frank ‘It’s a Wonderful Life’ Capra), who leads the charming barbershop number and ode to Mabel’s charms, When Mabel Comes In the Room.

Lisa Millar as the loyal studio star Lottie Ames also sparkles, especially when leading the ensemble in the awesomely-achieved all out song and dance number, Tap Your Troubles Away.

Sadly, this pacey yet richly detailed production (simple but effective design from Alison Brookes working wonders) ends a little too abruptly, leaving the conclusion of Mack and Mabel’s story feeling a little rushed instead of achingly moving.

Despite that, it’s still painfully resonant. The industry and its people, fundamentally, haven’t really changed. And although few learned from Mack and Mabel’s tragic tale, many should see this classy, inventive and visually-thrilling retelling.

Mack and Mabel, The Broadway, Catford until Dec 7. 020 8690 1000.