Me and My Girl

“Me and My Girl” is set in the late 1930s (when it was written) and I am sure that the Director is right when she observes in her programme note that it is essentially escapist entertainment.  The book was famously updated by Stephen Fry and Mike Ockrent, and while this undoubtedly added to the comedy it also, in my opinion, complicated the characterisation.  The dialogue begins to parody the form, with its riffs on historical misconceptions and knowing references to “My Fair Lady”, and as Bill and Sally betray their roots by pretending to be people that they’re not, the simple, powerful love story at the heart of the musical is in danger of being undermined.

The role of Bill, the long-lost heir to the Hareford estate, is often a star vehicle in professional productions; in this production the actor brought pace, personality and presence to his portrayal, and clearly relished the comedic aspects of the role.  The challenge for Bill and Sally is that they are real people and the audience has to believe in them if their romance is to have the necessary emotional heft.  In contrast, most of the supporting cast are essentially caricatures; indeed, the upper and working classes are so stereotyped that it’s almost cultural misappropriation.

The depth of talent in the Society meant that the supporting cast was excellent, and all the songs were sung confidently and accurately.  The chorus also stepped up with gusto as house guests, ancestors and pearly kings and queens, always entering into the spirit of things.  Another strength of the Society that they can draw on so many capable dancers – at least half the chorus was tap dancing at the beginning of Act 2.  The band was on form throughout, and the overture, with its bright brass and characterful percussion, got the evening off to a spirited start.

© NODA CIO. All rights reserved.