BETTY Blue Eyes is about a pig. And a very lovely pig at that!

But on Thursday evening at the Thameside Theatre (16 March) the show was undoubtedly all about the courage and indomitable spirit of one of its performers and the resilience of musical theatre.

Perhaps, in the greater scheme of things surrounding the Thameside Complex, the opening night performance of this understated and relatively unknown musical staged by borough-based TOPS on Stage was a metaphor for that great showbusiness tradition – 'The show must go on'.

A message to councillors and commissioners that hold the fate of this oasis of community culture in their hands.

She won't thank me for starting this review by putting her in the spotlight, but Mary Bloss just encapsulates why I, and so many others, love this genre. Midway through the first half of the musical comedy, Mary slipped backstage as she was running for a costume change and badly hurt her ankle.

The show was halted for 15 minutes while the principal singer underwent treatment. She reappeared, leg heavily strapped and on crutches – and carried on. She was clearly in pain but she didn't miss a note or a place in the plot as the endearing tale of an austerity-struck northern community unfolded.

At the end she received a huge ovation and the tears in her eyes – either from pain or emotion (probably both) – and the smile on her face will be an abiding memory for those that were there.

But enough of singling one person out. What about the show?

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I have to confess that Betty Blue Eyes, which had an inauspicious start to life in 2011 when it debuted in the West End, was an unknown book to me. Loosely-based on the 1984 film 'A Private Function' it was adapted from Alan Bennett's original screenplay by Ron Cowen and Daniel Lipman.

It's full of dry humour, the occasional belly-laugh and songs that are witty and warm. In many ways it reminded me of Billy Elliott – there are many emotional moments mixed in with dry humour and pathos. The West End run of the show lasted just six months. Though it got good reviews, it never really caught light – though it has subsequently toured the UK and done quite well.

It's a tough show for an amateur production to take on, not least because it is so unfamiliar. Not for TOPS though, the fear of failure. It might have been easy, for what could after all be their final production at the Thameside, to opt for a more popular show. One packed with well-known tunes and and already established relationship with the theatre-going public.

Instead, under the directorship of Michael Lambert and with the backing of a wonderful troop of onstage and backstage enthusiasts, they chose to tackle something difficult.

And boy, did they rise to the challenge!

The plot line is relatively simple. It's set in an austerity-stricken northern town after the war and just before the wedding of the then Princess Elizabeth and Prince Philip. There's a rather corrupt town council, plenty of local hardship, lots of snobbery and people desperate to break off the shackles of adversity. That word metaphor comes back to me again!

And then there's Betty Blue Eyes. A little pig, born and raised to be slaughtered for the table to showcase the vanity of the council leader (metaphor alert again).

I won't spoil enjoyment of those already booked to go, but if you haven't got a ticket, get one. You won't be disappointed.

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If I'm truthful, it took me a while to get into the show. It's low key as the scene is set and I was wondering what I was going to say about it for the first couple of numbers. But as the songs unfolded, the characters began to unravel and the plot thickened.

By the time of the show's fourth song 'Magic Fingers', the magic had certainly worked on me. I was engaged with the tale and I couldn't work out what might happen. And at that point we still hadn't met Betty….

Mary Bloss's personal drama aside, I would still be writing positively about this production and its cast. I simply loved it.

It's got a big cast, many of whom get a brief role with a solo cameo and the show is all the better for that too.

But I will run through some of the principal players. Mary Bloss would be a standout regardless of her ankle. She has become a TOPS star – indeed a local star across the region. Later this year she will be on the Palace stage in Southend as Maria in the Sound of Music.

Not only is she a great singer, she's a brilliant actress – and now we know a courageous one as well.

The show is actually about her character Joyce Chilver's relationship with husband Gilbert, a chiropodist. Which, of course, gives the opportunity for a few corny lines.

Gilbert is played with great aplomb by Ian Benson and he delivers in every way as the little man with a hidden lion's heart. Pun intended, despite the unassuming character he portrays, Ian really does hog the limelight. It's a great performance.

As is that of Dawn Peat, who plays Mother Dear. Simply brilliant. She's got comic timing down to an art, she steals food from everyone just as easily as she stole the audience's heart.

The trio of conniving town councillors is made up of Luke Coldham, Marty Doyle and Robert Moreley. They are terrific but I must pay special tribute to Luke – a bastion of the Thameside both on stage and off it.

Like Mary Bloss, he wouldn't thank me for highlighting him but he is amazing. I have to be honest, I hadn't read the cast notes or list prior to the show. It took me a couple of scenes to realise who the brusque, ultra northern, self-serving council leader was. Think of Luke and you invariably think of a Dame. But blooming eck (northern roots coming to the fore) I didn't realise what a great character actor he is. And he can belt out a song. The man's a force of nature!

And writing of one of nature's forces, the talents of Josh Handley must not go unacclaimed. He plays the cadaverous meat inspector Wormold. If you like musical film adaptions think the child catcher in Chitty Chitty Bang Bang or, Mr Sowerberry in Oliver! Of course, I then looked at the programme notes and saw he has played both – and plenty more great characters - on stage! He's another great addition to the TOPS canon.

There are so many others who flit in and out of the spotlight during this show, which really is the sum of all its parts. There are many great numbers with lovely harmonisations. It is a superb book of songs and one deserving, I think, of more than the accolades it has got over the years.

Maybe one day it will return to the West End and, second time around, get a longer run so people become more familiar with it.

I am sure it will remain a staple part, if a very challenging one, of local drama production – something that I suspect might delight its original creative force Alan Bennett. It's a show steeped in his persona and one that I thoroughly enjoyed.

In addition to the consummate cast (apologies for not mentioning you all) there's a seven piece orchestra under the musical direction of Clare Penfold, some extremely well-choreographed dance numbers and great technical support (well done the Thameside crew).

It may well end up being one of the last productions at the Thameside – something that would be a real shame and an embarrassment to our borough – but if that's the case then it was a very fitting finale.

Oh, and I almost forgot Betty. You've got to go and see for yourself. She was crackling!