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Cockpit in Court presents Me and My Girl, a comedy in the British tradition that follows the self-important Hereford family on their quest to reform their rightful heir, to be named the new Lord Hereford, after he arrives at the austere family homestead by way of Lambeth, London, (a less than reputable place where broads lurk about seeking company, but cops are, parish the thought, pleasant.) William, this unlikely heir, learns of his late father’s status and his own subsequent class leap in rollicking fashion as he playfully snubs his nose at things that are serious and proper. The Herefords are in for more than just a pickpocketing, cockney wielding man-boy, but also his girl, Sally. She is a strong character who has tough decisions to make throughout as she gauges how best to love her eccentric charmer whose status may have outgrown her. Flanked by a cast of colorful and conniving supporting and featured roles, propriety is stricken with a case of lower-middle class brashness that challenges the status quo and may or may not beat a few jokes senseless.

William, affectionately called Bill, is squirmy but independent as he stands firmly in his sense of self, played with near perfect comedic timing by Kevin Connell Muth. Muth brings a light and somehow downplayed ease to a character written to be over the top and caricature-like to fit the “wink, nudge” style of humor of which the musical has an abundance. Several bits jump out like his mimed introduction to a woman he imagines to be about two inches high, and a gag where he melts wicked witch-style in a grandiose ermine-trimmed cape. His feisty counterpart Sally is played by Julie Parrish, a gal who consistently shares with her audience a lovely voice, a very believable accent, and a top-notch radar for the inevitable shortcomings of live community theatre. The relationship between Bill and Sally is truly one to root for because of the life charged into what could have easily been flat stereotypes.

Exceptional performances belong to Judi Milgram’s Duchess Maria, a headstrong but not close-minded powerhouse whose quips can put anybody in what she deems to be his or her place; and Gerald, Patrick Martyn, an emasculated follower of the terribly desperate gold digger Jackie, who comes packed with awkward mannerisms and a rampant putting-on of unearned airs.

The set however, frankly takes away from the world of the production. Props and set pieces look hastily painted and assembled. Another factor taking away from this developing world is an odd time period discrepancy in the costume design. Several dresses scream “2002 High School Dance” which is distracting. Plot holes and unrealized growth potential for many stagnant players is an unfortunate hurdle, as those issues lie in the script and not necessary in the hands of the actors or director. Moments of spontaneous tap or waltz to seemingly buy time for quick changes and backdrop swaps leaves the story a little cheated, for the time comes when breaking the fourth wall no longer works in the cast’s favor.

The company and crew of Me and My Girl are rewarded with an appreciative and sharp-eared audience who allows bright and comical strangers to lead them to a place where Duchess Maria is wrong in stating that “Love is for the middle class.”

The Company

• Bill Snibson: Kevin Connell Muth
• Sally Smith: Julie Parrish
• Duchess Maria, Matriarch of the Hereford Family: Judi Milgram
• Sir John Tremayne: James Hunnicutt
• Lady Jacqueline Carstone: Amy Agnese
• Gerald Bolingbroke: Patrick Martyn
• Herbert Parchester, The Family Solicitor: Jeff Burch
• Lord Battersby: Chip Meister
• Lady Battersby: Kristen Cooley
• Sir Jasper Tring, the oldest living Hereford: Will Poxon
• Hethersett, he Butler: Lou Ghitman
• Mrs. Hughes, the Head Housekeeper: Paula Montrie
• The Major Domo: Jim Knost
• Lady Damming: Jennifer Viets
• Mrs. Celia Worthington-Worthington: Jackie Duff
• Lady Diss: Paula Montrie
• May Miles, Lady Diss’ daughter: Amanda Dickson
• Lady Brighton: Ashlyn Thompson
• The Pearly King and Queen: Quae Simpson and Lauren Everd
• Cockney Dancers: Laura Donnelly and Julie Foley
• Mrs. Brown, landlady in Lambeth: Jackie Duff
• Telegraph Boy: Ricky Blaha
• Bob Barking: Jake Stuart
• Lambeth Working Girl: Amy Greco
• Constable: Will Poxon
• Guests, Servants, Dancers, Ancestors, Ensemble: Ricky Blaha, Kristen Cooley, Amanda Dickson, Laura Donnelly, Jackie Duff, Lauren Everd, Julie Foley, Thomas Gardner, Jim Gerhardt, Lou Ghitman, Amy Greco, Jim Knost, Emily Morgan, Paula Montrie, Will Poxon, Katie Procell, James Ruth, Quae Simpson, Jake Stuart, Ashlyn Thompson, Jennifer Viets

Orchestra

• Conductor: Nathan Scavilla
• Piano: Patty DeLisle
• Bass: Robert DeLisle
• Percussion: Lisa Wood
• Violin: Rachel Lane
• Reeds: Helen Schlaich
• Trumpet: Stephen O’Connor
• Trombone: Megan Zontek
• French Horn: Jeff Baker

Production Team

• Director/Choreographer: Tom Wyatt
• Musical Director: Tom Wyatt
• Conductor: Nathan Scaville
• Stage Manager: Meghan Hughes
• Technical Director: G. Maurice “Moe” Conn
• Set Design: G. Maurice “Moe” Conn
• Set Construction Crew: Emily Andrews, Nichole Chaney, Devin McKay, Hayden Muller, Matt Norton, Sarah Senior, Marc Smith, Tony Steiner, Patrick Youells
• Scenic Artist: Sarah Senior
• Sound Designer/ Operator: Terry Edwards
• Sound Intern: Edwin Stagmeyer
• Costume Coordinator: Tom Wyatt
• Costume Construction: Della Lotman
• Men’s Formal Wear provided by: Tuxedo House
• Specialty Costumes provided by: Costume Holiday House of Fremont, Columbus, Toledo, Ohio
• Lighting Designer: Nathan Best
• Light Board Operator: Kanwal Rehman
• Spotlight Operators: Emily Andrews, Lisa Delss
• Shift Crew: Hayden Muller, Sara Piaskowski, Tony Steiner, Patrick Youells
• Deck Chief: Nicolle Walker

Disclaimer: Cockpit in Court Summer Theatre provided two complimentary media tickets to ShowBizRadio for this review.