The Lucille Ball version, or reincarnation, of Mame, lavishly costumed by Theadora van Runkle, with Jerry Herman’s [1966] musical numbers smartly choreographed by Onna White is a fantasy of the good old days of prohibition, the depression and the world travel folders.
The narrative pretty much follows the familiar sequence of events. Mame is first discovered in the midst of prohibition, the Charleston and progressive education. She goes down with the market in 1929, tackles show business, then clerking, is rescued by the romantic Beauregard and spends the rest of her life travelling.
A comedy with songs, not a musical comedy, per se, this Mame climaxes with its foxhunting number in Georgia.
