Theater Reviews : Words Fail ‘Mack and Mabel’ : Energetic choreography and performances keep CSUF’s production moving along despite a sluggish book.

Throughout Cal State Fullerton’s production of Jerry Herman’s “Mack and Mabel,” a nagging question keeps interrupting: Why would anyone want to revive this show?

Actually, on the surface “M&M;” (melts on the stage, not in your heart) appears to have a lot going for it: two sparkling personalities of the silent film era--comedy meister Mack Sennett and ageless comedian Mabel Normand--and, for its composer to mine, one of the most interesting, rapidly changing and fruitful eras of musical invention in this century.

But instead of molding these ingredients into something of substance, book writer Michael Stewart not only has bent film history beyond its breaking point, he has created a juvenile, simplistic bio-fiction about his two protagonists and has surrounded them with an early Hollywood that makes “Singin’ in the Rain” look like Chekhov.

Most of composer Jerry Herman’s score, meanwhile, sounds retread from his other shows. “When Mabel Comes in the Room” is a signature, leading-lady tune that could be sung in counterpoint to Herman’s anthems to Mame and Dolly without clashing.

Has this production overcome all these problems? Only here and there. It’s a good-looking show, as classy as a lot of Broadway musicals were in the days before the genre developed elephantiasis.

Co-directed by Donn Finn and Broadway veteran Lara Teeter, it moves along, except for some of the book sections, which seem too sluggish. But maybe that’s the tone the directors want (the musical direction by Jeff Fairbanks is pretty sluggish itself). It’s as though Finn and Teeter are trying to make it all seem important by giving it heaviness. But “Mack and Mabel” is only a Woolworth’s trinket, not a Cartier tiara.

The biggest advantages are some of the performances. Kirsten S. Vangsness’ Mabel is delightful from her poor-Irish homespun in Act One through her sequined gowns in Act Two. She fills them all with authority, energy and a quick, puckish humor that hints of the original Mabel, along with the naive confusion that beset Normand’s later career. And Vangsness sings like a dream.

*

Eric Bishop has the hurdle of Stewart’s Sennett to surmount: He must play a loud-mouthed, vulgar egomaniac and make him likable. Bishop almost succeeds in making the difficult switches required, even within short scenes. He handles the vocals with ease and a vibrancy that sometimes makes the melodies seem better than they are.

*

Also outstanding: triple-talented Dana Meller as a Sennett star who does better when talkies come in; a very funny Katie Zerga as Sennett’s “music department”; Ryan James Orr as the watchman who sings that song about Mabel coming into the room, and Matt Schliecher as an all-purpose combo silent film comic.

Teeter’s bright, fresh choreography, Todd Muffatti’s settings, Robert C. Mumm’s lighting, Juan Lopez’s costumes, John R. Fisher’s sound design and the makeup/hair designs of Natalie Carter are top-notch.

* “Mack and Mabel,” Little Theatre, Cal State Fullerton, State College Boulevard at Nutwood Avenue, Fullerton. Thursday through Saturday, 8 p.m.; Saturday, 2:30 p.m.; Sunday, 5 p.m. Ends Sunday. $12.50-$15. (714) 773-3371. Running time: 2 hours, 40 minutes. Kirsten S. Vangsness: Mabel Normand

Eric Bishop: Mack Sennett

Dana Meller: Lottie Ames

Katie Zerga: Ella

Matt Schleicher: Wally

Ryan James Orr: Eddie the watchman

A Cal State Fullerton Department of Theatre and Dance production of a musical by Jerry Herman and Michael Stewart, directed by Donn Finn and Lara Teeter, choreographed by Teeter. Scenic design: Todd Muffatti. Lighting design: Robert C. Mumm. Costume design: Juan Lopez. Sound design: John R. Fisher. Makeup/hair design: Natalie Carter. Stage manager: Todd Fussel.