REVIEW
BasOp presents
Me and My Girl
at the Towngate Theatre, Basildon
From May 25th to May 28th 2022
BasOp presents
Me and My Girl
at the Towngate Theatre, Basildon
From May 25th to May 28th 2022
Me and My Girl marks Basildon Operatic Society’s first major production since 2019’s triumphant Evita, and the sheer joy is not only palpable but positively overflowing from the stage.
Not since 1946 has BasOp been forced into a hiatus of more than two years, and with this stylish production of Me and My Girl, the company has returned to the Towngate Theatre with much aplomb.
Me and My Girl is a British musical with a rich history, having originally premiered in London’s West End in 1937, with subsequent revivals returning to the West End, transferring to Broadway, and touring the UK, picking up multiple Olivier and Tony Award wins along the way. The musical tells the story of Bill Snibson, a ‘rough and ready’ Cockney man who is unexpectedly discovered to be the heir to a fortune and an earldom.
The musical famously contains toe-tapping ‘earworm’ tunes like “The Lambeth Walk” and the title song, but perhaps under-rated and a pleasant surprise is the book by L. Arthur Rose and Douglas Furber, which has a great deal to entertain the audience by way of wordplay, Cockney rhyming slang, and enough double entendres to leave anyone satisfied.
BasOp’s production stays true to the show’s style and traditional interpretation, with a dazzling array of era-specific costumes (costumes by Ann Sullivan, with wigs by Tina Woodrow), characterisations, and accents that – combined with the large and impressive set (from Scenic Projects) – completely immerse the cast and audience in the world of 1930s Hampshire.
At the centre of the show is a quite outrageously charming performance by Joe Drury, as Bill Snibson (the “Me” of “Me and My Girl”). As Bill, Drury gets to explore practically every facet of theatre performance, including but not limited to singing, tap dancing, waltz, physical comedy and slapstick, heartfelt and honest love scenes, and quick-fire wordplay-based comedy. In every area he excels. His much-anticipated first entrance sets the tone, in that his mere presence noticeably raises the energy and the stakes both on stage and in the audience. Throughout the performance, the audience were captivated by Drury’s Bill, hanging onto every one-liner, every prat fall, and every last dance step. There is a romance and a “story” attached to Joe’s casting in that it is not only his first ever lead role for BasOp, but this is also a role that Joe’s father (Joe Drury Snr., who also appears in this production, relishing a role as the fantastically foppish family solicitor) played 20 years ago, for BasOp, in 2002. However, even removing all context, and judging based purely on what Joe Drury Jr. does on stage in this production, this is a truly remarkable turn.
A good deal of the heart of the piece comes from the role of Sally Smith (the “My Girl” of the equation), who is played here with style and maturity by Katie Lee. Lee shines in her solo numbers, “Take It On the Chin”, and particularly the beautiful “Once You Lose Your Heart”. Director Vikki Purton has shown Lee a great deal of trust in both songs by allowing her extended stretches of time either alone or with not much else on stage, and she – and we, the audience – are rewarded by a genuinely honest, earnest performance, without any frills or complication. Vocally, Lee is excellent, and additionally she more than holds her own in dance sequences and scenes with Drury’s Bill, which is no mean feat.
Supporting roles are played ably and with relish by Nicola Harrington-Smith, Jon Tabard, Diane Hills, Ian Benson, and the aforementioned Joe Drury Snr. Particular highlights are Harrington-Smith’s devilish Lady Jacqueline, who sets her sights on Bill (or rather, on his potential wealth), and Ian Benson’s Sir John Tremayne, an executor of the estate to which Bill is heir. Nicola Harrington-Smith is all bendy legs and flirty eyes as she dispenses with Jon Tabard’s endearingly hapless Gerald Basingbroke and then attempts to seduce Joe Drury as Bill – this culminates in the excellent and rather raunchy “You Would If You Could”. Meanwhile, Benson’s Sir John steadily unwinds from stuffy, prim, and proper, to drunk, crude, and smutty, and this is a journey that Mr Benson clearly relishes – as did the audience.
There’s something delightful about a full ensemble in a musical, and BasOp’s ensemble of over 20 performers adds a real punch and zest to songs and scenes throughout. Of particular note here are some very effective dance routines (credit here to Director Vikki Purton, who also choreographed the show, as well as the team of dancers). Several sequences are full of engaging characterisations and witty performances, particularly “An English Gentleman”, “The Lambeth Walk”, and very notably “Song of Hareford” (to say much more on the latter would spoil what will be a fun surprise for audiences unfamiliar with the musical).
A nine-strong orchestra here is in excellent form under the expert direction of Clare Penfold (a BasOp stalwart of nearly 20 years, as well as a very recognisable face for theatre regulars in Essex). Me and My Girl’s score does on occasion allow the band to let loose a little, and there is a raucous joy to the Act 1 finale, “The Lambeth Walk”, that escalates again and again. Sound designer Glenn Oxenbury balances the sound between the orchestra and the on-stage action flawlessly. Sat in the centre of the stalls, every line of dialogue and singing could be heard clearly, which is to the shared credit of the performers, creative team, orchestra, and sound design.
There is a good deal to like about other aspects of the technical design, from the lighting design by Glen Witherall, Josh Blows, and Michael Rowley (highlights include devilish reds to amplify Nicola Harrington-Smith’s role as the vampy seductress, and dusky, twilight scenes for “Leaning On a Lamppost”), to the scene changes, which were led by the cast in a seamless and professional manner.
BasOp have returned to the Towngate Theatre with a real show of strength on an individual and collective level with Me and My Girl. This is a production that oozes joy, fun, and style. Don’t miss it!
Review: Ashton Moore
Not since 1946 has BasOp been forced into a hiatus of more than two years, and with this stylish production of Me and My Girl, the company has returned to the Towngate Theatre with much aplomb.
Me and My Girl is a British musical with a rich history, having originally premiered in London’s West End in 1937, with subsequent revivals returning to the West End, transferring to Broadway, and touring the UK, picking up multiple Olivier and Tony Award wins along the way. The musical tells the story of Bill Snibson, a ‘rough and ready’ Cockney man who is unexpectedly discovered to be the heir to a fortune and an earldom.
The musical famously contains toe-tapping ‘earworm’ tunes like “The Lambeth Walk” and the title song, but perhaps under-rated and a pleasant surprise is the book by L. Arthur Rose and Douglas Furber, which has a great deal to entertain the audience by way of wordplay, Cockney rhyming slang, and enough double entendres to leave anyone satisfied.
BasOp’s production stays true to the show’s style and traditional interpretation, with a dazzling array of era-specific costumes (costumes by Ann Sullivan, with wigs by Tina Woodrow), characterisations, and accents that – combined with the large and impressive set (from Scenic Projects) – completely immerse the cast and audience in the world of 1930s Hampshire.
At the centre of the show is a quite outrageously charming performance by Joe Drury, as Bill Snibson (the “Me” of “Me and My Girl”). As Bill, Drury gets to explore practically every facet of theatre performance, including but not limited to singing, tap dancing, waltz, physical comedy and slapstick, heartfelt and honest love scenes, and quick-fire wordplay-based comedy. In every area he excels. His much-anticipated first entrance sets the tone, in that his mere presence noticeably raises the energy and the stakes both on stage and in the audience. Throughout the performance, the audience were captivated by Drury’s Bill, hanging onto every one-liner, every prat fall, and every last dance step. There is a romance and a “story” attached to Joe’s casting in that it is not only his first ever lead role for BasOp, but this is also a role that Joe’s father (Joe Drury Snr., who also appears in this production, relishing a role as the fantastically foppish family solicitor) played 20 years ago, for BasOp, in 2002. However, even removing all context, and judging based purely on what Joe Drury Jr. does on stage in this production, this is a truly remarkable turn.
A good deal of the heart of the piece comes from the role of Sally Smith (the “My Girl” of the equation), who is played here with style and maturity by Katie Lee. Lee shines in her solo numbers, “Take It On the Chin”, and particularly the beautiful “Once You Lose Your Heart”. Director Vikki Purton has shown Lee a great deal of trust in both songs by allowing her extended stretches of time either alone or with not much else on stage, and she – and we, the audience – are rewarded by a genuinely honest, earnest performance, without any frills or complication. Vocally, Lee is excellent, and additionally she more than holds her own in dance sequences and scenes with Drury’s Bill, which is no mean feat.
Supporting roles are played ably and with relish by Nicola Harrington-Smith, Jon Tabard, Diane Hills, Ian Benson, and the aforementioned Joe Drury Snr. Particular highlights are Harrington-Smith’s devilish Lady Jacqueline, who sets her sights on Bill (or rather, on his potential wealth), and Ian Benson’s Sir John Tremayne, an executor of the estate to which Bill is heir. Nicola Harrington-Smith is all bendy legs and flirty eyes as she dispenses with Jon Tabard’s endearingly hapless Gerald Basingbroke and then attempts to seduce Joe Drury as Bill – this culminates in the excellent and rather raunchy “You Would If You Could”. Meanwhile, Benson’s Sir John steadily unwinds from stuffy, prim, and proper, to drunk, crude, and smutty, and this is a journey that Mr Benson clearly relishes – as did the audience.
There’s something delightful about a full ensemble in a musical, and BasOp’s ensemble of over 20 performers adds a real punch and zest to songs and scenes throughout. Of particular note here are some very effective dance routines (credit here to Director Vikki Purton, who also choreographed the show, as well as the team of dancers). Several sequences are full of engaging characterisations and witty performances, particularly “An English Gentleman”, “The Lambeth Walk”, and very notably “Song of Hareford” (to say much more on the latter would spoil what will be a fun surprise for audiences unfamiliar with the musical).
A nine-strong orchestra here is in excellent form under the expert direction of Clare Penfold (a BasOp stalwart of nearly 20 years, as well as a very recognisable face for theatre regulars in Essex). Me and My Girl’s score does on occasion allow the band to let loose a little, and there is a raucous joy to the Act 1 finale, “The Lambeth Walk”, that escalates again and again. Sound designer Glenn Oxenbury balances the sound between the orchestra and the on-stage action flawlessly. Sat in the centre of the stalls, every line of dialogue and singing could be heard clearly, which is to the shared credit of the performers, creative team, orchestra, and sound design.
There is a good deal to like about other aspects of the technical design, from the lighting design by Glen Witherall, Josh Blows, and Michael Rowley (highlights include devilish reds to amplify Nicola Harrington-Smith’s role as the vampy seductress, and dusky, twilight scenes for “Leaning On a Lamppost”), to the scene changes, which were led by the cast in a seamless and professional manner.
BasOp have returned to the Towngate Theatre with a real show of strength on an individual and collective level with Me and My Girl. This is a production that oozes joy, fun, and style. Don’t miss it!
Review: Ashton Moore
Bill Snibson, a Lambeth costermonger, is revealed to be the new Earl of Hareford. His newly-discovered aristocratic relations are horrified and attempt to educate Bill into the ways of the gentry and separate him from his cockney girlfriend Sally. The result? Chaos of the most comical kind!
With a host of hilarious characters, witty one-liners and several toe-tapping numbers (including the famous Lambeth Walk, The Sun Has Got His Hat On and Leaning On A Lamp Post) Me and My Girl really is a treat for all fans of musical comedy!
https://towngatetheatre.co.uk/basop-me-my-girl/
With a host of hilarious characters, witty one-liners and several toe-tapping numbers (including the famous Lambeth Walk, The Sun Has Got His Hat On and Leaning On A Lamp Post) Me and My Girl really is a treat for all fans of musical comedy!
https://towngatetheatre.co.uk/basop-me-my-girl/
The cast in rehearsal below..
