We all need a bit of nostalgia right? - Even those of us who are not old enough to have the condition! Chester Operatic Society (Amateur) are celebrating their centenary this year, and so, a good old dose of nostalgia is most definitely the order of the day. Let's ignore for the moment that their chosen Musical, 'Me And My Girl' is set in both Lambeth (London), and Hampshire!
'Me And My Girl' is a wonderful, feel-good book musical, in the olden style, and has a storyline that doesn't need much work on the part of the audience to understand and follow; and of course we all know there'll be a happy ending too - that's what this kind of show is all about. The music is by Noel Gay, and features 'hits' such as 'The Sun Has Got His Hat On', 'Leaning On A Lamppost', 'The Lambeth Walk', and of course the title song, 'Me And My Girl'. All extremely popular songs once upon a time. And to go with these catchy melodies, the book and lyrics were written by L. Arthur Rose and Douglas Furber. It has been a very long time since I last saw a production of this show, and had completely forgotten just exactly how funny, effervescent, and pun-tastic they truly are. Perhaps they can be said to be a cross between Noel Coward and Stewart Francis if they'd both have come from London. And for those of you who are clever enough to spot the deliberate comedy homages present within the show, you'll notice, among others, a lovely Gilbert And Sullivan parody and a lovely direct reference to Bernard Shaw's Pygmalion's Henry Higgins.
The plot, for those who might like to know at least a little, can be described as "working class young man suddenly finds he is the heir to a title and huge estate. The upper-class family of said estate can't tolerate him until he has "changed his ways" and become "acceptable". One of the family takes it upon herself to do just that in order to preserve the family line; but it is his working-class girlfriend who seems to be standing in the way of his future." A comedy of class, language, and the power of understanding and acceptance. Themes which, I feel sure you would agree, are just as relevant today as when this script was written.
First night hiccups notwithstanding, I can honestly say that Chester Operatic Society did this musical proud. There was a clear understanding of the style and feel of the production, and it was abundantly clear that eevryone on stage this evening (despite a few nerves) was enjoying themselves and their joy was flowing past the fourth wall and into the audience.
Directed by Rob Stevens [last seen by this reviewer on stage himself as a dame in panto!], the show flowed nicely along with a good arc, whilst characterisations and character developments were handled well. Dan Coleman's Bill Snibson was channelling Dick Van Dyke at times, but he had a great stage presence, an easy personality, and a winning smile, making him the perfect choice. I enjoyed his physical comedy, and his onstage chemistry with Sally was nice to witness. Laura Morris shone as the "Eliza Dolittle" of the piece, and with her unwavering sincerity and lovely singing, she was the perfect ying to Coleman's yang.
These two excellently-chosen principals were complemented by a whole host of smaller principal roles, cameos, and chorus. Those that stood out this evening for me were, Steve Riordan's upright and proper John Tremayne; easing nicely into his role as the show progressed, never without a glint in his eye, and a well-placed quip. Neil Allcock's role as the family solicitor was also nicely placed and well measured, bringing a sense of impishness to an otherwise quite dull role. Whilst Elliot Tutt brought a sense of fun and upper-class twitishness to his role as Gerald Bolingbroke with suavity and ease.
The set was excellent, as we went from motor car in the countryside to mansion house with ease - I loved the transformation into luggage, whose idea was that? And all the sets which followed were indeed excellent and swiftly and promptly delivered. Costuming was also very good, [one or two minor details missed, such as a maid not wearing any headgear, and a lady or two not wearing a hat etc], but generally all seemed very period and correct. Whilst the band in the pit infront of the stage, under the first-class direction of Wendy Dickinson, was one of the finest amateur bands I have heard in a long while, congratulations.
I can't mention everyone involved, the cast was large; but all worked very well, and the ensemble and chorus work was executed clearly as we all enjoyed the rousing repeat choruses of 'Lambeth Walk' to end act one, and the extended curtain calls reprising all the famous songs so that the audience could, and willingly did, join in... ensuring we all went home singing with big grins on our faces.
A thoroughly enjoyable evening's entertainment, professionally executed, providing us all with a chance to reminisce remembering 'the good old days!'.
Reviewer - Matthew Dougall
on - 8/6/22
on - 8/6/22
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