Me and My Girl

Me and My Girl started its original run in the West End in 1937 and was substantially revised for a revival in 1984, winning two Laurence Olivier Awards and running for eight years. It tells the story of unrefined cockney costermonger Bill Snibson who inherits the title and estates of The Earl of Hareford. Bill finds that he doesn’t belong to his old life or the new one, but thanks to the help of his girlfriend Sally and Sir John, it all turns out well in the end.

Director Sam Sampson had the unenviable task of trying to fit a huge cast onto the small Station Theatre stage without making it look too crowded - he succeeded admirably. This meant keeping the excellent set (take a bow Graeme Clements) to a minimum and conducting some scenes in front of the half-way curtain. Choreographer Natalie Davies coped well with the same challenge and the picturesque dance numbers made use of every inch of space.

Costumes throughout looked very much in the right period (1930s), thanks to Marina Voak, and the picture was completed by Ian Pratt’s clever lighting design. MD Ben Lister’s 12-piece band was accommodated backstage but produced an excellent sound, which was well balanced with the vocalists (credit to Aaron Hayes).

Who else but Sean Ridley could play Bill Snibson so well? Ratcheting up the “cheeky chappie” barrow boy to maximum, he gambolled around the stage with enormous energy and beguiling charm, really making you feel his dilemma while demonstrating his great comic timing and immaculate singing voice. Hannah Edwins as Sally was the perfect foil: a beautiful mover and a flawless singing voice.

Jen Sharland as the Duchess was more stern than dragon-like, and very handy with her walking stick. Not a woman to be messed with, as Mr Parchester (a nicely judged performance by Gareth Billington-Ryan) found to his cost. Graeme Clements made Sir John a very avuncular uncle figure. His drunken acting in particular was just right - never overdone. Anthony Davies and Grace Campbell made a lovely pair of titled siblings – Anthony taking the standard “upper class twit” role and making it his own, while Grace was beautifully slinky and flirty, especially when trying to seduce Bill. Jonathan Redwood remained aloof and stately as Charles the Butler, with some telling facial expressions.

The company provided excellent support with some great vocal harmonies and well-drilled choreography, bringing some of the numbers into the auditorium – lovely to have the surround sound!

This was a sublime piece of entertainment, full of humour and familiar songs, that totally has the feelgood factor; and the audience lapped it up. We all left the theatre humming the familiar tunes and feeling uplifted. What more could you ask from an evening at the theatre?

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