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Legs & Co.

Legs & Co. was a all-female that performed on the music television programme from 1976 to 1981. Formed as a replacement for the short-lived mixed-gender group , the troupe debuted in October 1976 billed as the Top of the Pops Dancers before adopting their official name—chosen via a viewer competition—on 4 November 1976. The group consisted of six dancers: Lulu Cartwright, Patti Hammond, Sue Menhenick (a former member of and ), Gill Clark (a Miss UK finalist), Pauline Peters (with West End stage experience), and Rosie Hetherington (who joined at age 17). Their routines were choreographed by Flick Colby, who also managed the troupe alongside Ruth Pearson, and they specialized in synchronized, high-energy performances to accompany chart-topping pop songs when live bands or videos were unavailable. Legs & Co. made their first appearance dancing to Average White Band's "Queen of My Soul," and their final Top of the Pops performance came in December 1981 with Sue Menhenick's solo to Jon & ' "," after which they were succeeded by the troupe . Following their tenure, Legs & Co. embarked on a four-year international tour from 1981 to 1985, managed by Lulu Cartwright, showcasing their dance skills in live settings around the world. As the longest-running dance act on the programme during the and early , they became an iconic fixture of pop culture, contributing to the visual spectacle of the show amid its evolution from live performances to pre-recorded videos.

Formation and Early History

Origins in Top of the Pops Context

, a staple of British television since its launch on 1 January 1964 as a weekly music chart programme on , relied heavily on dance troupes to visually interpret songs for artists unable to perform live, filling airtime with engaging routines amid the show's mimed performances format. The programme's early dance groups evolved from the Go-Jos in the mid-1960s to the iconic all-female , who debuted in 1968 and became synonymous with the show through their glamorous, synchronized choreography until their departure in April 1976 after eight years of prominence. Their final performance was to the ' "" on 29 April 1976. Following 's exit, the BBC experimented with a mixed-gender troupe called , formed in May 1976 under choreographer Flick Colby and comprising four women and three men, including holdovers from like Sue Menhenick. However, 's tenure proved short-lived, lasting only until October 1976, due to internal tensions—such as male dancer Lee Ward's abrupt departure after criticizing the format as unappealing to the male audience—and broader dissatisfaction with the mixed dynamic. In response, BBC executives, including head of variety and producer Robin Nash, decided to revert to an all-female group to restore viewer appeal and align with the successful model, citing the new format's misalignment with audience expectations for "sexy ladies" over mixed performances. This shift also addressed production preferences for a streamlined, cost-effective troupe without the complexities of coordinating male dancers. Legs & Co. emerged from this decision, debuting on 21 October 1976 to the Average White Band's "Queen of My Soul," initially billed as the Top of the Pops Dancers before adopting their name via a viewer competition. Choreographed by Flick Colby and managed alongside former member Ruth Pearson, the group drew from Ruby Flipper's female dancers for continuity.

Initial Line-up and Naming

Following the disbandment of the mixed-gender dance troupe in October 1976, choreographer Flick Colby reformed the group as an all-female ensemble, retaining three female members from —Lulu Cartwright, Patti Hammond, and Sue Menhenick—and recruiting three new dancers through auditions to create a lineup with diverse dance backgrounds, including , , and commercial styles. The original six members were Lulu Cartwright, who served as an informal lead and had experience in Pan's People-style groups through her brief time in Ruby Flipper; Patti Hammond, a jazz dance specialist also from Ruby Flipper; Sue Menhenick, ballet-trained and the only dancer to have performed with both and Ruby Flipper; Rosemary Hetherington, focused on contemporary dance as a student at the stage school; Pauline Peters, a commercial performer with West End stage credits; and Gill Clark, a versatile session dancer and Miss finalist. The troupe's first appearance occurred on the 21 October 1976 episode of , where they performed to the Average White Band's "Queen of My Soul" without an official name, simply billed as "The Top of the Pops Dancers." During this broadcast, presenter announced a viewer-submitted competition to name the group. The winning entry, "Legs & Co.," was selected from public submissions and revealed on the 4 November 1976 episode, with alternatives like "The Top of the Pops Dancers" used in early appearances.

Performances on Top of the Pops

Style and Choreography

Legs & Co.'s dance style blended influences from , , and , characterized by synchronized group formations, high-energy lifts, and a playful sensuality that highlighted the dancers' legs in line with the troupe's name. Their routines adapted flexibly to the diverse genres topping the charts, including soul, punk, , and later electronic sounds, ensuring visual appeal across musical styles. Choreography was primarily crafted by Flick Colby, who served as the full-time dance director for Top of the Pops troupes and tailored each weekly performance to interpret song lyrics and themes through interpretive movements and formations. For instance, their first performance on 21 October 1976 to the Average White Band's "Queen of My Soul"—billed as the Top of the Pops Dancers, with the official name Legs & Co. adopted on 4 November 1976—established this approach with elegant, flowing steps that complemented the soul track's groove. Colby's designs emphasized precision and energy, often incorporating lifts and dynamic transitions to maintain viewer engagement during the brief televised segments. The troupe's style evolved from its 1976 inception, beginning with glamorous, leg-focused routines that evoked glamour amid the era. By the mid-1977 to period, as and gained prominence, their choreography incorporated edgier, more angular movements to match the raw energy of acts like the Stranglers, while retaining synchronized elements. In the later years from 1979 to 1981, routines shifted toward more theatrical narratives, with elaborate staging and props to narrate song stories, reflecting broader pop's move toward visual storytelling. Costume design, handled by the BBC's Wardrobe Department, played a key role in enhancing thematic cohesion, featuring custom provocative leotards, shorts, and accessories that aligned with each routine's concept—such as shimmering fabrics for numbers or bolder prints for punk-influenced performances. These outfits underscored the sensual aesthetic without overshadowing the , often prioritizing mobility for lifts and formations while amplifying the visual impact on screen.

Production Schedule and Logistics

The production of Legs & Co. routines for followed a tightly structured weekly schedule aligned with the release of the on Tuesdays. Rehearsals typically began shortly after the chart was announced, taking place at BBC rehearsal facilities such as those in , where the dancers would develop choreography under the guidance of Flick Colby. By mid-week, the routines were finalized, with filming occurring on Wednesdays at Television Centre using a multi-camera setup. These segments, lasting 2–3 minutes, were pre-recorded for broadcast the following evening on Thursdays, allowing for editing and integration into the full episode. Most routines were filmed without the performing artists present, functioning as standalone promotional visuals to fill gaps when musicians could not attend due to touring or other commitments. This pre-recording approach relied on precise with the track's audio, often requiring the dancers to adapt quickly to the song's style and tempo. Exceptions occurred during occasional live broadcasts, particularly in , when the show experimented with fully live episodes on 7 May and 9 July; these required real-time coordination and heightened preparation to accommodate on-site artists and audience energy. The logistics presented several operational challenges, primarily stemming from the compressed timeline between chart announcements and filming, which left little room for extensive revisions. Last-minute song changes or artist unavailability demanded rapid improvisation, while the troupe coordinated closely with lighting, sound, and camera teams to ensure seamless integration into the show's format. Budget limitations further constrained elaborate sets or location shoots, keeping most productions studio-bound. Over their five-year tenure from 1976 to 1981, Legs & Co. contributed to more than 300 appearances across the weekly program, typically featuring in one to two segments per episode.

Archive Status and Notable Routines

The preservation of Legs & Co.'s performances on reflects the broader challenges faced by from the 1970s, when tape reuse was common practice to save costs, leading to the wiping of numerous episodes. While the troupe completed over 300 appearances between 1976 and 1981, the retains master tapes for most episodes broadcast after early September 1977, with earlier footage often surviving only in partial form or through off-air recordings. Several episodes from the Legs & Co. era lack tapes, though the dance routines themselves have been recovered via alternative sources such as international broadcaster copies or viewer recordings. Efforts to recover and digitize the material intensified in the , when the began restoring and airing classic episodes on , drawing on surviving footage to compile retrospective series like . Fan-driven initiatives have played a key role in filling gaps, with compilations of off-air recordings uploaded to platforms like and , preserving routines that might otherwise be lost. These efforts have made the majority of Legs & Co.'s performances accessible online, though quality varies due to original recording conditions. As of 2025, fan communities have continued restorations using modern tools like for audio enhancement on platforms such as , recovering additional details from off-air recordings. Notable routines highlight the troupe's versatility across genres. Their debut performance on 21 October 1976 was to the Average White Band's "Queen of My Soul," marking the introduction of the group (then subject to a BBC naming competition) in a lively, synchronized display that set the tone for their tenure. A controversial highlight came in 1977 with their adaptation for the ' "," where the dancers incorporated punk-inspired energy and attitude in a filmed segment aired as a proxy performance, given the band's exclusion from the show due to controversies; a clip featured in the documentary Top of the Pops: The True Story. Another standout was the 1977 routine to Carly Simon's "" in the 18 August episode (repeated 1 September), featuring a "legs-only" focus in the that emphasized the troupe's signature lower-body emphasis amid the era's pop-disco blend. The group's final major archived routine was to ABBA's "Lay All Your Love on Me" on 23 July 1981, a polished disco-pop number that showcased their enduring appeal just months before their departure from the program. Gaps persist particularly in the early punk-influenced years (1976–1977), where wiping practices erased full episodes, leaving some routines incomplete or reliant on short surviving clips—such as the 90-second fragment from the 11 1976 broadcast, which included elements tied to ABBA's "" promo alongside Legs & Co.'s partial "Spinning Rock Boogie." Recent fan restorations in the , including enhanced uploads and audio redubs, continue to address these incompletenesses but remain partial, with no comprehensive recovery of all originals.

Line-up Evolution

Core Membership Changes

Throughout its five-year tenure on Top of the Pops, Legs & Co. maintained a stable core membership of six dancers, distinguishing it from the more transient composition of its immediate predecessor, . The original line-up, established in October 1976, included Lulu Cartwright, Patti Hammond, Sue Menhenick (who had previously danced with and ), Gill Clark (a Miss finalist), Pauline Peters (with experience in West End stage productions), and Rosie Hetherington (aged 17 at the time of joining). This group performed together without alteration until early 1981. The sole change to the core membership occurred in March 1981, when Pauline Peters departed following the episode aired on 19 March. Peters, known for her background in commercial dance and West End shows, had been a fixture since the troupe's inception. Her exit marked the end of the original line-up's uninterrupted run. Peters was replaced by Anita Chellamah, a singer and dancer of English-Irish-Malayan heritage born in Newcastle-upon-Tyne. Chellamah had prior experience in the West End, notably performing in the musical Bubbling Brown Sugar during the late 1970s. She officially joined Legs & Co. in May 1981, as documented in a photocall held on 27 May, and debuted on the show in the episode of 28 May. This adjustment preserved the troupe's six-member structure through its final performances later that year.

Additional and Guest Dancers

Legs & Co. maintained a strict focus on its core group of six dancers to preserve the troupe's signature identity and consistency across routines. This approach ensured that the brand remained centered on the established members, with no formal expansions or regular additional roles. However, there were rare instances of guest dancers supplementing the core line-up for specific performances, particularly to add dynamic elements to choreography. The most prominent example was Floyd Pearce, a male dancer from the short-lived troupe, who made several guest appearances with Legs & Co. between 1976 and 1978. These collaborations introduced a mixed-gender dynamic to select routines, contrasting the all-female core. Pearce's involvement was limited to targeted episodes, aligning with the show's need for varied visual appeal without altering the troupe's primary structure. One verified appearance occurred on 14 April 1977, during the routine for Andrew Gold's "Lonely Boy," where Pearce joined the six core dancers to enhance the performance's energy and staging. Similar guest spots by Pearce included the 1976 edition for Stevie Wonder's "I Wish," where he was positioned behind a screen for thematic effect, and the 21 September 1978 routine for Sylvester's "(You Make Me Feel) Mighty Real)," adding a disco-infused flair. These selective inclusions totaled at least nine documented instances, primarily in late episodes, but never transitioned into permanent membership. Pearce's contributions were praised for bridging the stylistic gap between Ruby Flipper's mixed ensemble and Legs & Co.'s streamlined format. Beyond Pearce, documentation of other guest or temporary dancers is sparse, with no records of ex-Pan's People members like Babs Lord rejoining for specials or short-term fills during core member illnesses. Standby or session dancers were occasionally used for live episodes in 1980 to cover logistical needs, but these were unnamed and non-recurring, ensuring minimal disruption to the core brand. Overall, such peripheral contributions were exceptional, underscoring Legs & Co.'s emphasis on over .

External Activities During Active Years

Non-Top of the Pops Television and Stage Work

During their active years from 1976 to 1981, Legs & Co. expanded their visibility through guest appearances on various television programs beyond , often adapting their energetic to suit family-oriented or formats. These spots highlighted their versatility, featuring dance routines that complemented musical performances or comedic segments on shows aimed at children and general audiences. One notable appearance was on the long-running children's program on January 14, 1980, where the group performed a lively routine in their signature style, engaging young viewers with high-energy moves during a segment focused on and . The performance, captured in archived footage, showcased their ability to tone down the sensuality of their routines for a family audience while maintaining rhythmic precision and group synchronization. In 1980, Legs & Co. featured on the puppet-led children's series during its Christmas special "Basil's Christmas Cruise," aired on December 27. They delivered a festive-themed to a Hollywood-inspired melody, integrating seamlessly with the show's whimsical tone and providing visual flair to the holiday episode. This appearance underscored their adaptability to lighthearted, narrative-driven formats, blending with the program's comedic elements hosted by the iconic fox . The group also guested on the chaotic Saturday morning children's show in 1980, participating in the infamous "Phantom Flan Flinger" challenge alongside actor on the November 1 episode. Dressed in glamorous outfits, they endured the program's signature pranks while attempting a competitive task, turning the segment into a mix of and brief elements that captivated the youthful audience. This outing highlighted Legs & Co.'s willingness to embrace playful, unpredictable television, contrasting their polished persona. Additionally, Legs & Co. appeared on the sports-themed It's a Celebrity Knockout in 1977 and 1978, competing in team challenges as part of charity events like the vs. Celebrities specials. In the August 16, 1977, episode, they navigated obstacle courses and water-based games, infusing the proceedings with their athleticism and team spirit. The following year's August 21 installment featured similar high-spirited participation, where their physical coordination from dance training proved advantageous in the comedic contests. These episodes, broadcast on BBC1, emphasized the troupe's off-stage charisma and contributed to their growing public profile through non-musical entertainment. These external television engagements, typically one-off or seasonal, allowed Legs & Co. to reach diverse audiences and demonstrate their range beyond chart-topping routines, fostering broader recognition during the late 1970s.

Tours and Promotional Engagements

During their tenure on Top of the Pops from 1976 to 1981, Legs & Co. were managed by choreographer Flick Colby and producer Ruth Pearson, who coordinated their schedules and performances. This management structure supported their primary focus on weekly television commitments, with external activities limited to occasional television guest appearances and no major tours or live stage performances during this period. The group's stability in membership during this period allowed for such supplementary television work, contributing to their visibility in the broader entertainment scene.

Reception and Cultural Significance

Contemporary Critical and Public Response

Legs & Co. garnered substantial public appeal during their active years on , particularly as pin-up figures among male viewers, with the troupe receiving quite a lot of weekly. According to member Lulu Cartwright, the correspondence was mostly positive and included unusual requests, such as girls asking to borrow costumes and letters from prisons, while the group responded by sending out photos to fans. The troupe's appearances contributed to the strong viewership of , which drew 10–15 million viewers weekly throughout the 1970s, with their segments helping to boost audience retention amid the show's mix of live performances and chart hits. Media coverage in contemporary magazines highlighted the group's , often positioning them as a visual to the emerging aesthetic. Features appeared in publications like Jackie (e.g., a half-page profile in the February 5, 1977 issue and a full-page interview with member Pauline Peters in the September 6, 1980 issue) and Record Mirror (a February 12, 1977 article introducing the members' ages and backgrounds). Critical reception was divided, with praise for the troupe's energetic performances and adaptability to diverse musical styles, including routines in 1977, contrasted by complaints from campaigners over suggestive costumes on the show.

Influence on Dance Troupes and Media

Legs & Co. served as a direct precursor to subsequent dance troupes on Top of the Pops, particularly , which debuted in December 1981 shortly after Legs & Co.'s final dedicated performance. Both groups were assembled and choreographed by Felicity "Flick" Colby, whose innovative routines emphasized energetic, visually engaging interpretations of pop songs across genres like , , and . This continuity in creative direction ensured that adopted elements of Legs & Co.'s polished, high-energy style while expanding to a larger, mixed-gender ensemble of over 20 dancers drawn from , , and club backgrounds, reflecting evolving television aesthetics in the early 1980s. The troupe's format and performances also contributed to the broader evolution of dance representation in British music television, maintaining an all-female lineup that highlighted synchronized, glamorous amid the transition from live studio acts to pre-recorded music videos. By visually amplifying hit records with literal yet captivating routines—often adding a layer of "sexiness" to retain audiences—Legs & Co. helped sustain viewer engagement on during a period when live artist appearances were inconsistent. Their work underscored the role of female-led ensembles in elevating as a core element of pop programming, influencing the visibility of TV before the era prioritized video production over studio troupes. As cultural icons of and British pop , Legs & Co. embodied the era's playful, escapist television spectacle, with their global tours post-Top of the Pops extending their reach and solidifying their status in dance history. Colby's for the group, which toured internationally for four years after 1981, left a lasting imprint on subsequent ensembles by demonstrating how adaptable, crowd-pleasing routines could bridge live performance and broadcast media. This legacy positioned Legs & Co. as a pivotal link in the chain of Top of the Pops dance acts, fostering a tradition of innovative visual storytelling that persisted until music videos largely supplanted such troupes by the mid-.

Final Phase on Top of the Pops

1981 Transitions and Challenges

In 1981, Legs & Co. underwent a significant line-up transition when longtime member Pauline Peters departed on 19 March, prompting auditions for a replacement. Singer and dancer Anita Chellamah joined the group on 28 May, marking her debut performance to Enigma's "Ain't No Stopping (Us All)." This change occurred amid growing operational pressures, as introduced occasional live broadcasts that year, including a special 900th episode edition on 9 July, which demanded heightened precision and immediacy from the dancers. The troupe faced mounting challenges from evolving music trends and production economics. The year saw a surge in synth-pop and New Romantic styles, exemplified by acts like and , alongside the broader post-disco shift that diminished the prominence of the upbeat, routine-based performances Legs & Co. had popularized during the late 1970s. Concurrently, the BBC's format began favoring pre-recorded promotional videos supplied free by record companies, rendering in-house dance troupes less essential as a cost-effective visual filler for non-appearing artists. These external factors compounded internal strains after five years of weekly commitments, fostering a collective desire among members to pursue individual paths without reported major conflicts. For instance, Chellamah soon transitioned to a career with Toto Coelo, achieving a Top 10 hit in 1982. By late 1981, these dynamics led to Legs & Co.'s replacement by , signaling the effective wind-down of the troupe on the program.

Last Performances and Departure

In mid-1981, Legs & Co.'s appearances on became less frequent as the increasingly incorporated pre-recorded promotional videos from artists, diminishing the demand for live dance routines. This change aligned with broader shifts in the show's production, where video clips provided a cost-effective alternative to studio performances. By autumn, the troupe's role had evolved from dedicated routines to more integrated, audience-like participation. Their final full dance routine aired on the 15 October 1981 episode, set to The Tweets' "The Birdie Song," marking the end of their signature choreographed segments. The troupe's last group on-screen presence came a later on 29 1981, where they appeared briefly at the front of the stage, swaying alongside the live audience during performances by ("Happy Birthday") and Haircut 100 ("Favourite Shirts (Boy Meets Girl)"), as well as a short segment with The Fureys and Davids (""). These subdued cameos reflected the transitional challenges of the year, including lineup adjustments and format experiments. The BBC's decision to phase out Legs & Co. was informal and stemmed from a desire to refresh the show's visual style with a larger, more diverse ensemble. Beginning with the 5 November 1981 broadcast, the 20-member mixed-gender troupe debuted, performing their first routine to Electric Light Orchestra's "Twilight" and effectively replacing Legs & Co. after five years and over 300 appearances. No formal on-air farewell or tribute was provided to acknowledge the group's contributions. However, Sue Menhenick made a final solo appearance on the 17 December 1981 episode, dancing to Jon & Vangelis' "," marking the troupe's last contribution to the programme after Zoo's debut. Unlike numerous episodes from the and that were routinely wiped from the due to tape shortages and policies, the 1981 footage featuring Legs & Co.'s final outings remains largely intact. Many of these episodes, including the October and December broadcasts, have been preserved and periodically re-aired on , allowing modern audiences access to the troupe's concluding moments.

Post-Top of the Pops Developments

Group Continuation and Renaming

Following their final group appearance on in October 1981 (with Sue Menhenick's in December 1981), Legs & Co. continued operating as a cohesive , embarking on a four-year world tour managed by group member Lulu Cartwright. This period marked their transition to independent live performances, sustaining the group's visibility through international engagements until approximately 1985. Specific details on tour locations and engagements remain limited in public records. The troupe maintained its original name throughout this phase, with no documented rebranding. By the mid-1980s, collective activities faded as members shifted focus to personal endeavors, though precise details on their last joint performance remain undocumented. After 1985, there were no further documented group activities as Legs & Co.

Later Television Appearances and Reruns

Following their departure from regular appearances on in late 1981, Legs & Co. made no further live group returns to the programme or other television shows. Their contributions were preserved through archival footage rather than new performances. In the 1990s, Legs & Co. segments from their era were frequently featured on the BBC's archive compilation series , which debuted on 17 September 1994 and showcased vintage performances with contextual introductions. The troupe's routines, known for their energetic choreography to hits by artists like and , were highlighted in episodes revisiting the late 1970s and early 1980s, contributing to the show's nostalgic appeal without requiring new group reunions. A significant revival came in 2011 when BBC Four launched a weekly rerun series of surviving Top of the Pops episodes, beginning with broadcasts from 1976—the year Legs & Co. formed—and progressing annually through 1981. This initiative aired over 30 episodes featuring the group's routines, including iconic dances to tracks like Blondie's "Heart of Glass" and Donna Summer's "Love's Unkind," allowing audiences to revisit their contributions via and iPlayer streams. The series emphasized the troupe's role in the programme's visual style, drawing renewed interest from viewers. The reruns have continued chronologically, reaching episodes from the early 1980s as of 2025. Into the 2020s, archival Legs & Co. performances continued to surface through nostalgia-driven programming on and , often as part of broader compilations during lockdowns and anniversary retrospectives. These streams, including full episodes and highlight reels, maintained the group's visibility without live returns, though no full-scale television reunions have occurred since the early . As of November 2025, there have been no new group television events since 1981.

Members' Individual Trajectories

Pre- and Post-Group Careers

The members of Legs & Co. brought varied professional backgrounds to the troupe upon its formation in 1976, reflecting a mix of television, stage, and competitive experience in dance and performance. Sue Menhenick joined after serving in Pan's People from 1974 to 1976 and briefly in Ruby Flipper earlier that year, marking her as the only dancer to appear in all three successive Top of the Pops troupes. Lulu Cartwright and Patti Hammond also had prior stints in Ruby Flipper, with Hammond transitioning from classical ballet training and modern dance work, including appearances with the Second Generation dance group. Pauline Peters contributed experience from West End stage productions and the BBC's Young Generation troupe, while Gill Clark entered as the runner-up in the Miss Great Britain 1976 contest. Rosie Hetherington, at age 17, was a dance student making her professional debut. Anita Chellamah joined later in 1981 as a replacement for Peters, bringing skills in both dancing and singing; her first performance was to Enigma's "Ain't No Stoppin' (Us Now)". Following the group's departure from in late 1981, members leveraged their visibility to pursue individual paths in entertainment, often staying connected to performance arts. Lulu Cartwright appeared in the 1981 film The Great Rock 'n' Roll Swindle and later, with Patti Hammond, on in 2006. Pauline Peters left the troupe to focus on , securing a role in the BBC drama series Tenko during the . Anita Chellamah shifted toward music, forming the band Toto Coelo, which reached the UK Top 10 with "I Eat Cannibals (Part 1)" in 1982; she later collaborated with The Cherry Bombz, releasing material in the mid-, and continued solo work into the 2010s. Sue Menhenick continued as a choreographer and provided media commentary on the era. Gill Clark and Rosie Hetherington maintained low public profiles post-troupe, with occasional nostalgic interviews. The fame from Legs & Co. facilitated ongoing bookings in , corporate events, and television for several members during the early , though many gradually diversified into teaching, choreography, and related fields.

Personal Milestones and Recent Updates

In the early , several Legs & Co. members contributed to retrospectives on the BBC's , including a reunion of the original lineup for the 2000 documentary Top of the Pops: The True Story, where they reflected on their performances and the era's cultural impact. Lulu Cartwright participated in interviews for , sharing personal anecdotes about auditions, choreography, and the troupe's dynamic during their tenure. Sue Menhenick has provided commentary in media features on the and music scene, including discussions of Legs & Co.'s evolution from cabaret-style routines to more theatrical shows, as recalled in archival interviews. A significant personal loss for the group occurred on 15 September 2021, when Patti Hammond passed away at age 71 following a long illness. No other members have died since then, as of November 2025. In the 2020s, surviving members have engaged in occasional nostalgic interviews, highlighting their post-troupe lives and the lasting legacy of Legs & Co. For instance, Anita Chellamah discussed her transition from dancing to music and therapy in a 2024 podcast episode. As of November 2025, the surviving members—Lulu Cartwright, Gill Clark, Sue Menhenick, Rosie Hetherington, Pauline Peters, and Anita Chellamah—remain active in limited capacities, with most maintaining low profiles away from public events. Anita Chellamah continues her work as a trauma and addiction therapist, delivering workshops and contributing to recovery programs. No major group reunions or notable health updates have emerged for the members between 2022 and 2025.

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