IN the last line of the lyric of the title song of this show are the words that sum up this whole production … “and we’ll have love, laughter, be happy ever after”. From the moment the curtain rises to the wholehearted finale, BLOC, the only local company to present shows at this 1,904 seater theatre, and, in doing so, risk tens of thousands of pounds of their own money, with no big commercial backing or public money supporting them, (any offers ?), this production has one aim in mind – to entertain the audiences and send them home with a big smile on their faces.

Lupino Lane, who in 1937 originated the role of Bill Snibson, the cheeky cockney who suddenly finds himself thrust into the upper classes when it is discovered that he is the heir to the Hareford Estate, was in addition to being a singer and actor, was a mime artist and tumbler. That first production was full of his comedy mime routines. Robert Lyndsay researched those routines and repeated them brilliantly, when in 1984 he inherited the role in the highly successful revamping of the show by Stephen Fry and Mike Ockrent.

Michael Griffiths, who takes over this iconic role in David Baxter’s bright eyed and bushy- tailed production, may not have Lane’s outstanding mime and tumbling skills, but I doubt that Lane could match him as a song and dance man and ability to play the romantic hero. The old George Formby number Leaning on a Lamppost was a poignant, romantic piece in Michael’s hands. His partnership with Sophie Thorne, matching him all the way in the vocal, dancing and acting stakes, as his true love Sally Smith, provided an excellent central focal point from which this light-hearted romp could develop.

Skillfully filling in the blanks in the story, ever ready to take advantage of every vocal and comedy opportunity that came their way, were Faye Banks’ elegantly haughty Duchess, Chris Parslow’s Sir John, expertly mixing comedy, and a few poignant moments in his well-judged study of old world charm and pomposity, Jessica Bell’s Lady Jaqueline, who, to borrow a line from Noel Coward, “used sex like a shrimping net” as she tried to reel-in the bedazzled Bill Snibson – she has far more success dealing with Jaryd Evans love-sick silly ass Gerald.

Standing just aside from this quartet is the family solicitor Cedric Parchester . It’s a gift of a part if you have the skills to sail almost over the top, and showing just that ability Tom Carron made sure that everyone else had to look to their laurels when he was involved in a scene.

There is nothing visually and vocally better than to see a stage-full of people, providing they are well disciplined. With an ensemble of around 40, firmly under the command of choreographer Jacquie Bell and MD Conal Bembridge, despite some of the early numbers being taken at a slightly too slow a pace, were a joy to watch and listen too.

The Lambeth Walk that ended Act 1 and The Sun has Hat his hat on that opened Act 2, had the audience tapping their toes, and given half a chance ready to join in the singing.

Next year BLOC is one of just eleven company’s throughout the country who have been invited by Cameron Mackintosh to stage Les Misérables. It will be quite an occasion, evoking strong emotions on stage and in the audience, but I doubt it will produce as much fun and happy feelings as Me and My Girl.

GRP