Review: Me and My Girl - New Ross Musical Society

Society name: New Ross Musical Society

Show name: Me and My Girl

Date of attendance: 14^th March 2026 

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‘Me and My Girl’ has everything a great musical comedy should have. Colourful characters, a catchy, memorable score, a script full of puns, double entendres and an endless stream of fast-firing one-liners. What’s not to love? New Ross Musical Society fully embraced the charm, humour and energy that have made the show such an enduring favourite over the years. Performed in St Michael's Theatre, it was a lively and engaging production that brought the world of Lambeth and Hareford Hall to life in what was a fun-filled, highly entertaining production.

Front of house in New Ross is always a pleasant experience and this was no exception. Volunteers were welcoming and efficient, ensuring that everyone was well looked after from the moment we arrived. The presence of the AIMS President added to the sense of occasion and there was a genuine buzz everywhere. There was good attention to detail in the foyer, with some lovely photo displays celebrating past productions. Inside the auditorium, programme sellers were friendly and upbeat, setting the tone perfectly for the evening’s performance.

Direction was in the capable hands of Derek Shannon, who showed a strong understanding of the show’s comedic style. There was great attention to the slapstick, visual comedy of the show throughout. There was strong work with the ensemble, who reacted and interacted with intelligence and humour throughout. Pace was generally strong, with the library scene in particular standing out for its brisk, energetic delivery and wonderful slapstick antics. There was some thoughtful staging throughout. The challenging fugue sequence, set within the window frames, was very well realised, while the ‘human’ portraits in the library scene brought great visual impact. 

Musical direction was of a very high standard under the baton of Jimmy Brockie. Mr. Brockie’s ten-piece orchestra impressed throughout, with a rich, full sound which balanced the energy and sensitivity required to bring Noel Gay’s vibrant score to life. Choral work was very strong, with ‘A Weekend at Hareford’ getting the production off to a confident start thanks to the ensemble’s full-blooded delivery. The ensemble sound at the top of ‘An English Gentleman’ was especially impressive with its excellent diction and tight harmonies. Principal singing was also of a high standard throughout. Tempos and dynamics were well judged, providing nice contrast between softer, more intimate moments like ‘Once You Lose Your Heart’ and more full-on energetic numbers such as ‘The Lambeth Walk’. 

Choreography by Anne-Marie Cooney was always very engaging. There was a clear focus on storytelling and character. The opening number, ‘A Weekend at Hareford’, was simple but effective, catering for performers of all abilities whilst still establishing the tone of the show. There was a great sense of fun and absurdity in ‘The Family Solicitor’, with principals fully embracing the playful style through their energetic hopping, skipping, jumping and ‘letting rip’. The tap break in ‘Me and My Girl’ was wonderful, with Bill and Sally dancing up a storm in a sequence that was technically impressive yet so charming. ‘Hold My Hand’ was another fun routine, featuring strong ensemble work and ‘The Lambeth Walk’ was a clear audience favourite, with its spoons routine and character-driven choreography. ‘Men of Hareford’ was a most enjoyable sequence, with the tapping ancestors making a strong impression, although the impact of the routine was let down somewhat by lighting that did not complement the choreography. 

Andrew Lane brought tremendous energy and charisma to the central role of cockney costermonger Bill Snibson. This was a superb performance, full of expression and vitality, with Mr. Lane demonstrating exceptional physicality. His use of props was particularly impressive, with standout moments including his business with Sir John’s watch, the perfectly judged decanter drop, the cushion gag, and his wonderful antics with his cloak in the library scene. A triple threat, Mr. Lane excelled in his singing, dancing, and comedic acting. Mr. Lane had the most beautiful lyrical singing voice. His performance in ‘Leaning on a Lamppost’ was warm and controlled and I loved his beautifully timed gesture of blowing out the lamp which was a lovely finishing touch. His transformation towards the end of Act One was very funny, with a hilariously clipped upper-class accent as he attempted to pass himself off as a gentleman. 

Sarah Corcoran gave a wonderful portrayal of Bill’s girl, Sally Smith, capturing the character’s initial rough-around-the-edges charm with great warmth and authenticity. She had very strong stage presence throughout. Like Mr. Lane, she was extremely versatile, as her strong singing, dancing, and acting combined to deliver a most engaging performance. Her rapport with Bill was a particular strength, with the two having a natural chemistry which shone through, especially during numbers such as ‘Me and My Girl’, which felt fresh and so believable. Singing was excellent throughout. ‘Once You Lose Your Heart’ was beautifully performed and ‘Take It on the Chin’ was another standout, thanks to some warm and playful interplay with Jasper. Overall, a most confident and thoroughly enjoyable performance.

Ester Crilly was excellent in the role of Maria, the Duchess of Dene and head of the Hareford household. This was a wonderfully assured and finely judged characterisation. She captured the regal nature of the Duchess with great poise. Ms. Crilly was an exceptionally clever actress. Every movement and expression was carefully considered and purposeful. She also made a strong impression with her singing. ‘Men of Hareford’ stood out as a highlight as we were treated to a clear, tuneful voice which was full of character. Combined with her excellent diction and commanding presence, this was a performance of real quality which brought much authority and humour to the role.

Rory Robinson gave a wonderful performance as Sir John Tremayne. Characterisation was excellent and there was so much comic detail in his portrayal. There was great use of comic expression, accent, and physicality as he completely immersed himself in the role. His scenes with the Duchess were a particular highlight, with a most entertaining dynamic between the two. Mr. Robinson’s wonderful facial expressions in response to her cutting remarks were often as funny as the lines themselves. The perfectly timed fall following his declaration that he would stand up to her was a moment of comedy gold. A truly excellent comic performance overall.

Amy Haughton took on the role of the vampish Lady Jacqueline Carstone whose materialistic leanings were never in any doubt. Ms. Haughton’s comic potential was clear as she demonstrated great physicality and very strong facial expressions. She committed fully to Jacqui’s often outrageous antics, particularly in numbers such as ‘You Would If You Could’, where she cast inhibitions aside in what was a very funny routine with Bill. She had a strong singing voice, although there were some slight tuning issues in ‘Thinking of No One But Me’. That said, she approached the number with great confidence and energy and her characterisation ensured that the performance was entertaining throughout. 

Conor Lyons showed his skill as a highly accomplished comic actor in the role of Gerald Bolingbroke. He had all the necessary skills, combining excellent physicality, wonderfully rubberised facial expressions, a strong singing voice and a neatly clipped accent that perfectly suited this delightfully absurd aristocratic character. There was so much to admire in his performance. He was very secure musically. ‘The Sun Has Got His Hat On’ was especially well handled, with Mr. Lyons singing confidently and embracing the humour of the piece so well, especially in the very funny scat section. He was most impressive in the choreography department too, particularly in the tap sequence which he performed with wonderful energy and flair.

Phil Erskine brought great enthusiasm and character to the role of Herbert Parchester, the delightfully quirky family solicitor. He fully embraced the eccentricities of the part, enjoying each opportunity as he repeatedly attempted to burst into song. Mr. Erskine had a very engaging presence on stage. His confident tenor voice was full of comic character. His showcase number, ‘The Family Solicitor’, was a riot of fun, with Mr. Erskine clearly relishing every moment. 

Peter O’Connor made the absolute most of a relatively small role as the hard-of-hearing Sir Jasper Tring. This was a highly entertaining characterisation. Mr. O’Connor had a most consistent physicality as the doddery elder statesman of Hareford and he used this to get every last drop out of the role. Of course, he achieved all of this with absolute minimal dialogue, relying instead on his very funny vocal exclamations. 

Anthony Finn brought a strong presence to the role of Charles, the butler. His wonderfully droll, deadpan delivery was packed with humour and he showed excellent comic timing throughout. He may not have had a great number of lines, but Mr. Finn ensured that every moment counted, thus creating a most memorable character in the Hareford household.

Seán O’Brien was a very strong comic presence in the role of Lord Battersby. He captured the character’s fondness for a tipple with humorous charm. His startled reactions, when being admonished by his formidable wife, Lady Battersby, were consistently amusing. We were left in no doubt as to why he might wish to lose himself in a sherry or two! 

Carmel Rowe was another strong presence in the role of Lady Battersby, bringing authority and precision to the part. She had wonderful comic timing and very strong stage presence throughout. Her deliciously sharp delivery of cutting remarks kept Lord Battersby firmly in his place. 

Lynda Walsh made a memorable impression as the nosy Mrs. Brown, bringing plenty of vocal energy and a very rough-around-the-edges characterisation to the role. She clearly enjoyed her moment on stage, ensuring the character stood out for all the right reasons. 

Finn Kiely Kelly also impressed in the dual roles of the telegram boy and the Pearly Prince. He showed good confidence and stage presence throughout. No doubt, this young man will continue to develop in future roles.

The ensemble was generally well-rehearsed, showing a good sense of engagement throughout. The aristocrats arriving at Hareford in the opening scene impressed with both their strong singing and expression, helping to set the tone effectively from the top of the show. In ‘An English Gentleman’, while the choral sound was excellent, more focus on character and performance from the staff would have lifted the number even more. In the Act One finale, while there was terrific life and energy from both the Pearlies and the aristocrats, the level of ad-libbing occasionally drowned out the dialogue. That said, the ensemble’s choral singing was of a very high standard throughout. They also committed fully to the choreography, with great energy and enjoyment in numbers such as ‘The Sun Has Got His Hat On’. 

Stage management, under Mark Hayden, was solid throughout, with scene changes generally executed in a slick and efficient manner. Transitions flowed well, helping to keep the pace of the production moving briskly at all times and fly cues were very well managed throughout. There was a small number of issues that might have benefited from attention. The sound of cast members practising a tap routine on stage during the interval was clearly audible in the auditorium. In addition, a trailing cable from the otherwise excellent lamppost in the street scene was very noticeable. Otherwise, however, it was a well-organised and efficiently managed production.

The set design worked well from a structural point of view for the various locations, with some thoughtful ideas throughout. The library scene, in particular, was quite cleverly realised, with the use of the portrait-filled window spaces and the bookcase placed in front of the main doors of Hareford Hall, creating a strong visual. However, there were some aspects of the overall finish that took away from the sense of grandeur one associates with the show. The walls of Hareford Hall appeared somewhat drab for such an opulent setting and, at times, gave the impression of being unfinished. More detailed painting was required to establish the aristocratic world of Hareford. While there were some very strong ideas in the design, a more polished finish and greater attention to detail might have enhanced the overall aesthetic.

Lighting was something of a mixed bag throughout the production. There were moments of very strong visual storytelling, particularly in the use of lighting through the windows, which helped to suggest a world beyond Hareford and added great depth. Similarly, ‘Leaning on a Lamppost’ was very nicely realised, with some beautiful backlighting and use of haze combining to create a stunningly atmospheric image as Bill and Sally danced together. Cueing required greater precision in places, with some transitions lacking finesse. ‘Men of Hareford’ felt like a missed opportunity from a lighting perspective. As this sequence exists within Bill’s imagination, it should be a great chance for a director and lighting designer to create some magic with an otherworldly atmosphere that takes us out of reality as the ancestors come ‘to life’. Instead, the number was presented in relatively standard lighting, which limited its impact. Overall, while there were some very effective moments, a more imaginative and consistent approach to lighting would have added greatly to the visual impact of the show.

Sound design was of a very high standard throughout. The orchestra mix was excellent, allowing the ten-piece ensemble to flourish without ever overpowering vocalists. EQ levels were very well judged for both singing and dialogue, ensuring warmth and clarity at all times. There was also a strong sense of balance in the ensemble vocals which were very well blended. Cueing was precise and accurate throughout, giving a very professional feel to the overall sound quality. Sound effects, when used, were well chosen and perfectly timed, enhancing key moments as required. Overall, a very well-executed sound design operated with consistency and control.

Costumes were a real strength of this production, capturing both the tone and period of ‘Me and My Girl’ very well. There was great attention to detail throughout. The gentry, arriving at Hareford in the opening scene, were beautifully turned out, immediately establishing the world of the aristocracy. The maids and staff were presented with impressive uniformity. The striking suit of armour looked fantastic and provided a great visual gag later in the show. Authentic pieces such as the deerstalker hat, along with the excellent period costuming of the ancestors, further added to the overall aesthetic. The arrival of the Pearlies at the end of Act One provided a wonderful contrast, with their eye-catching pearled costumes standing out brilliantly against the formal attire of the Hareford guests and greatly enhancing the storytelling. Excellent work from the costume department.

Props were handled with great care and attention to detail throughout. It was clear that a great deal of thought had gone into sourcing and selecting items that were appropriate to the era and setting. Many props also played an important role in supporting the comedy. Excellent work from the props team overall which added much polish to the production.

Hair and make-up were, for the most part, very well considered, with good attention to detail evident across the production. From the smaller touches, such as Parchester’s distinctive centre parting, to the Duchess’s perfectly coiffed hairstyle, there was a clear effort to ensure that characters were appropriately styled for their roles. Some of the maids appeared more heavily made up than the period might suggest and felt slightly out of place given their status within the household. This was a small detail, but worth noting.

‘Me and My Girl’ is one of the great feel-good musicals. It is a show with great joy, humour, and heart at its core. New Ross Musical Society certainly captured its energy and charm with strong performances, wonderful musicality and a clear sense of enjoyment both on stage and in the auditorium. While there were some areas that could be refined, the overall impression was of a society fully committed to bringing this much-loved classic to life. Above all, it was a production that sent everyone home smiling. A much-needed tonic for all!

Pat McElwain

Sullivan Adjudicator 2025/2026