Me And My Girl

It’s London, a cockney chap inherits a fortune and must decide if he’s to move up or stay where he is. Rather like ‘Half A Sixpence’ but in the 1930’s. “Everything’s free and easy – Do as you darn well pleasy” …The score is packed with relatively simple compositions often with insipid lyrics that play on repeat in your head after you hear them, whether you want them to or not! If you’ve never heard ‘The Lambeth Walk’ before checking out a production of ‘Me And My Girl’, you’re sure to feel as if it has darn-well-pleasied about in your mind for a lifetime! 

Choreographer and one half of the Director duo, Gary Jones-McCaw, ensures the dance routines are rousing and joyous with ‘The Sun Has Got His Hat On’ being a particularly lively highlight. Gary’s throng of dancers deliver the style and zest of this show with gusto, they’re drilled to precision and certain individuals amongst his troupe sparkle with a refined old school musical theatre flair. Choreography is an area where Stockport OS continually thrive, and this production was no exception.

The other half of the director partnership went to regular/resident director for Stockport OS, Michael Jones-McCaw, who also put himself in the spotlight as the show’s star vehicle, Bill Snibson. As Bill, Michael certainly radiated the cheeky chappie quality required exuding a feet-firmly-on-the -ground attitude seeming to carry the show in his effortless stride. Goofy, likable and charming in equal measures, topped off with a delightful singing voice with comic timing to boot. A sterling act indeed. 

A title with an estimated running time of 2hrs 40mins including an interval to actually run for 3hrs 15mins should not come as surprise for me to report that the length of this show was rather long! The pace of the scenes trod along at a relaxed beat proving that a considerable chunk of the running time could have been shaved off here. What was actually happening on stage was absolutely spot on, excellent in fact, it just needed a rocket up it. The exceedingly gentle tempo from the conductor’s baton contributed here too, this is a show full of zeal and bounce with a spritely spark yet these qualities weren’t felt from the ensemble of perfectly able musicians. As I’m sure certain readers of these reviews can relate, I too feel regretful with repeating myself in this area and I’m certain these observations aren’t warmly received either, nevertheless, it’d be wrong of me to ignore a factor that’s imperative to a musical production. Missing the vivacity and exhilaration of what should be an energetic score is not something I can regretfully skip mentioning. 

Putting the running time to one side, the calibre of the exhibition as a whole was of a vast and incredibly noteworthy quality. Some remarkable performances gleamed, Lisa Kay’s Duchess is required to do a Pygmalion on Snibson. Her facial expressions towards Bill’s capers were reminiscent of Hyacinth’s despair with Onslow, just perfect! This sweet Sally Smith was furnished by the charming Kate Shaw who made fine work of ‘Once You Lose Your Heart’. Kate wasn’t as feisty or commanding as Sally is often portrayed, she softened the usual robust edge to her character which was an appreciated choice which I entirely support and favour.      

Finding a set to fit - let alone logistically work - on the Plaza stage is not an easy undertaking yet this design from Scenic Projects was a triumph, not only was it attractive it was impressively majestic with how it transitioned from exterior to interior. I would have believed it if I were told it’d been designed with the Plaza stage in mind. Kudos to the stage management and crew for overcoming a field that’s so regularly a more tedious duty than most when presenting a show at this venue.   

As the supporting comedy duo, Ben Drane and Hannah Edwards proffered us with their Gerald and Jaqueline. Ben relished in the animated buffoon antics whilst singing and dancing with verve. Hannah was a tad subtler with her vivacious qualities which seemed to nudge her out of the limelight a tad against other lofty performances but she certainly came into her own, showing us her full potential, when coercing on Bill. 

Paul Ryan gave an enjoyable cheery turn as Herbert, the family solicitor, there’s a tendency to overcook such gimmick roles as these but the part was honoured and cherished for all it needed to be and worked a treat! 

Sir John was delivered exceptionally well by Frank Dean, although it went on a bit, his library scene with Michael (as Bill) showed us the comic knack he possesses, reading the audiences responses exceptionally well.  A mention must also go to the Constable, a delightful cameo by Peter Bowler, who absolutely savoured his short stint to leave a memorable impression.  

A clear meaning or coherent message is not really in sight yet ‘Me and My Girl’ seems to have been embraced for its jolly romp escapism element. This is a work that gets by on easy charm which was no doubt the secret of the productions initial success and its consequent revamp in 1987 (when it was given a fresh lick of paint with revisions by Stephen Fry) which subsequently made a star of Emma Thompson (as Sally) and went on to snatch 11 Tony nominations on its Broadway transfer. it’s certainly a fun, cheeky tonic for troubled times.

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