Stan Laurel and Oliver Hardy have been loved by many over the years, but they aren’t exactly in the pantheon of legendary film comedians. So you can perhaps forgive playwright Tom McGrath for trying a bit too hard to make the case for their greatness.
Near the end of his play, Laurel and Hardy, McGrath quotes some of the tributes paid to Laurel at his funeral – comments that compared him to greats like Buster Keaton and Charlie Chaplin. It’s only one example of the playwright trying a bit too hard to turn the Laurel and Hardy story into compelling drama. There are episodes and allusions to Laurel’s drinking problem, his failed romance to Mae Dahlberg, and – most dramatically – his desire to be free of Hal Roach’s control over their films (another actor who “really wants to direct”).
But director Laura Gordon seems to know the real attraction of McGrath’s play, which is the chance to channel the charm of Laurel and Hardy themselves. And her actors, Gerard Neugent and Bill Theisen, are spot on, capturing the look, personalities and spirit of the pair. And the unqualified pleasure they gave their audiences.
Still, it’s satisfying to know a little bit about the people behind such lovely frivolity as the duo’s signature dance (with help from pianist Paul Helm), and a classic wallpaper hanging bit from the 1920 two-reeler, Paper Hangers Helper. Laurel and Hardy is part an effort by Mark Clements, the Rep’s new artistic director, to expand the kind of plays presented at the Stackner Cabaret. And McGrath’s play is more than the usual Stackner song and dance. With the Stackner’s table seating and limited stage capabilities, it’s a tricky business. Laurel and Hardy shows how great performances and direction can be a step in the right direction.
