THEATER REVIEW : ‘Me and My Girl’ Delivers True Love, Laughs, Songs

No one ever argued that Great Britain’s Edward VIII was a brilliant or, noting his excessive warmth toward the Nazis in World War II, a visionary man. But on that fateful day when he announced on radio that he was giving up his throne to marry the royally unacceptable American divorcee, Wallis Simpson, whom he referred to simply as “the woman I love,” he ceased to rule his people in body and began to rule their hearts.

It was Dec. 11, 1936, and the world, in the midst of the Depression, never needed to be reminded more of the importance of love over title and money. It is to this event that the unabashedly romantic “Me and My Girl,” first produced in 1937, the year Edward married Mrs. Simpson, refers to over and over again.

Like the king who probably inspired the story, the smashingly successful Broadway and London revival of this play about a Cockney lad who discovers that he is an earl and will not, even under the threat of losing his inheritance, give up the commoner girl he loves, is neither brilliant nor visionary. But it does seem to say something about the old-fashioned appeal of true love in these politically, financially and romantically unstable times.

The traveling production at San Diego’s Civic Theatre playing through Jan. 8 also says something about the old-fashioned appeal of charismatic performers who can deliver laughs, songs and nimble footwork all in a handsomely boxed production wrapped up in eight sumptuously designed settings by Martin Johns, each complete with its own glittery, giddily colorful array of costumes by Ann Curtis.

Tim Curry crackles as the young Cockney, Bill Snibson--the part that won Robert Lindsay one of the three Tonys awarded to the show this year. (Maryann Plunkett picked up a Tony for best musical actress and Gillian Gregory for choreography.)

With his big, bulging eyes and generously mobile mouth, Curry perfects the smirk without losing the sweetness of his light-fingered character. He moves deftly from wrestling with tiger rugs to lifting watches, which he returns with the infectious aplomb born of the ignoblesse oblige.

As Bill’s winsome soul mate Sally, Donna Bullock is completely fetching, but radiates an inner refinement that renders her somewhat lacking in the outrageous department. Ursula Smith perfectly hits the limit of stuffiness as Bill’s autocratic blueblood aunt, and Susan Cella is wonderfully unrepentant as the cousin who finds her heart irresistibly drawn to the new earl’s money.

Also impressive are Walter Charles as the high-stepping family solicitor, Nick Ullett as the fop who longs for the cousin, and Barrie Ingham as the aging noble who quarrels with the duchess whom he adores in silence.

The key to keeping this froth afloat seems to lie in the swiftly moving direction of its many moving parts. Mike Ockrent provides that sure hand. His task is eased by the expert musical supervision of Thomas Helm and musical direction of Robert Fisher; Gregory’s graceful choreography that plays so well off Johns’ sets and Curtis’ costumes, and Roger Morgan’s and Chris Ellis’ skillful lighting that moves with such ease from a sunny garden party to a dingy, smoky street.

Credit for the revival goes to Richard Armitage, the son of the original show’s composer, Noel Gay, who evidently had to hunt down the only extant text--a prerehearsal script--and score from the original show. Though it was the father’s work that inspired the son’s efforts, it is not Gay’s songs, however sprightly and pleasant, that are the strength of the musical. The spirit of it is.

During the show’s one true hit number, “Lambeth Walk” (a song that would never work out of context of the show), the Cockneys teach the bluebloods how to walk with the spunky Cockney style. The actors extend their lessons in feel-good fun right down to the audience, walking down the aisles, smiling and glad-handing the patrons like solicitous hosts at a party. To love this show is to surrender yourself to good-hearted moments like this. It is a sweet surrender.

“ME AND MY GIRL” Book and lyrics by L. Arthur Rose and Douglas Furber. Music by Noel Gay. Book revised by Stephen Fry. Directed by Mike Ockrent. Sets by Martin Johns. Costumes by Ann Curtis. Lighting by Roger Morgan and Chris Ellis. Sound by Tom Morse. Choreography by Gillian Gregory. With Susan Cella, Nick Ullett, Cleve Asbury, John Salvatore, Roger Preston Smith, Ralph Farnworth, Evelyn Page, Walter Charles, Gordon Connell, Ursula Smith, Barrie Ingham, Keith Perry, Tim Curry, Donna Bullock, Bran Moranz, Melody Jones, Lou Williford, Mary Stout, Gregg Kirsopp, Jamie Torcellini, Evelyn Page and Michael Hayward-Jones. At 8 p.m. every day through Jan. 8 with matinees Tuesday, Wednesday, Friday and Saturday at 2 and Sundays at 3. At the San Diego Civic Theatre, 202 C St.