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Press Telegram by Alessandra Djurklou
Musical Theatre West's latest effort,
"Me and My Girl," is one of those shows only a curmudgeon would pan. It's
colorful, silly, upbeat, with catchy songs and dances (including the '30s
answer to the macarena, "The Lambeth Walk" ') and plenty of signature British
wit.
Written by Arthur Rose, Douglas Furber and Noel Gay, the show helped Brits overcome the gloom of the final Depression years, and took them through the dark years of World War II. It even has the distinction of having survived in spite of being bombed during the Blitz.
This is the second time Musical Theatre West has produced the show, and cast the same lead as last time Wayne Bryan plays cockney Bill Snibson, who suddenly finds himself heir to an earldom and lots of money.
Bryan is extremely comfortable in the role, and very adept at physical comedy (there is a very nice bit with him sitting on air), but does come off as a bit of a stage hog. True, the role is designed that way, but it might be a nice idea to cut down on some of the shtick, especially since the show clocked in at the Sunday matinee at two hours and 45 minutes.
Also, the scenery-chewing does detract from other performances, which is a bit of a pity.
Bets Malone plays Sally Smith, Bill's cockney (and therefore unacceptable to his new family) sweetheart, and does it very well. Her signature number, "Once You Lose Your Heart," ' was beautifully done. Unfortunately, she is usually upstaged by Bryan in their scenes together. The same can be said for the supposedly formidable Duchess of Dene. Brenda Cox tries hard to subdue Bryan, but with little success.
Tracy Lore, who plays vamp Lady Jacqueline, is harder to best. Lore does a great bitch impression, and is particularly effective in her scenes with her dandy of a fiance, Gerald (Kevin McMahon).
The standout performance, however, comes from Lenny Wolpe, who plays Herbert Parchester, the family solicitor (that would be lawyer to the Yanks out there). His big number, "The Family Solicitor," ' clearly plays tribute to Gilbert and Sullivan's "Mikado," ' and Wolpe's joy in the number and his understated humor makes the rest of the slapstick in this show seem overdone.
It would be unfair, however, to blame Bryan for the lagging pace of the show. All the characters need to get the lead out. But this is an easily fixable problem. Otherwise, the elements are all there, from impressive sets and costumes, to good voices and solid choreography.
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