Even those who have never heard Oliver Hardy utter his famous expression, "Well, that's another fine mess you've gotten us into [sic]," will find a lot of humor and affection in Tom McGrath's biography. Laurel and Hardy pays tribute to one of the great comedy duos of all time. The show has an ideal setting: Milwaukee Repertory Theater's most intimate performance space, the Stackner Cabaret. This allows audience members to get a life-size glimpse of these great comedians. Two actors, plus an exceptionally versatile pianist, comprise the show's cast.
The plot is somewhat corny: The long-deceased Laurel and Hardy must re-enact their rise to greatness before they can move on to a higher level of cosmic glory. Their retelling begins with episodes of their early ambitions. Hardy was only eight when he ran away from home to join the Scottish version of the circus (a boys' choir, in this case). Laurel, equally ambitious, declared his vocation to be "a boy comedian" when he was 16. The son of an actress and a producer, Laurel was "born with greasepaint in his blood."
Tom McGrath takes us from vaudeville to silent films to "talkies." He gives us bits of some of Laurel and Hardy's most famous comic skits, as well as a couple of adorable soft-shoe numbers. The dancing sequences illustrate how they moved perfectly as a team.
Actor William Theisen, who plays Oliver Hardy, demonstrates how light on his feet a large man can be. The tall, almost gaunt Gerard Neugent, as Stan Laurel, provides the perfect physical contrast to Hardy's girth. Neugent mimes Laurel's movements so well that he captures the man's spirit, as well as his physicality. This is important, as both men were far more complicated than their simplistic, slapstick comedy suggests.
The audience learns that Laurel was the brains of the two. He writes, as well as directs, numerous films for Hal Roach Studios. He yearns to be more independent than the standard movie contract allows. Hardy, meanwhile, is more carefree. He is content to play golf and make movies. (The men produce an astonishing 44 films for Roach). Eventually, Laurel convinces the reluctant Hardy to take control of their futures. This proves to be one of several disastrous decisions.
To his credit, McGrath injects examples of Laurel and Hardy's influence on the comics who succeeded them such as Jerry Lewis, for instance. It is unfortunate that the show never delves deeper into the men's personal lives. Both were married (and divorced) several times. Laurel's first wife, Mae, is the only spouse to become a tangible character in the show. Still, director Laura Gordon manages to mine the best script has to offer. She injects dramatic elements into what could be dry material. Oh, yes and she makes sure the audience laughs. And laughs.
Credit also belongs to the Paul Helm as the music director and pianist. A man-of-all-trades, he occasionally fills a brief character role (such as a bartender) or provides special effects. Helm also provides a lot of atmosphere as well. His tinny, tremulous piano music that accompanied some of Laurel and Hardy's silent features will surely cause a lot of older audience members to reminisce. Between the music and choreography, and with Laura Gordon's assistance, Laurel and Hardy prove that they can entertain audiences in any century.
