My Fair Lady

Just when you think you know enough about a musical (having performed in it once) it's genuinely refreshing to sit amongst the audience 16 years later (and 16 years wiser) and really take it in. In writing this review, I found myself doing more research regarding the source material than I had anticipated. Did you know, for instance, that the original version which previewed in 1956 contained seven more songs than it does now?

Also, the ambiguous way the ending plays out has undoubtedly been the most 'director-affected' facet of the play; so much so, that the somewhat alternative blocking at the ending of the most recent Broadway revival, became a huge talking point. Traditional musical theatre audiences and composers are so accustomed to 'happily ever after' that the concept of platonic love being a thing, barely ever gets a look in. The constantly evolving ending of plays such as this also make for considerable after-show introspection, especially given the current social climate. It was interesting to read that the prescribed age difference between the two leading characters was originally intentioned as a deliberate foil to their friendship ever possibly being perceived as a romance, and yet who hasn't previously thought of this as a cock-eyed love story?

Speaking of being in the audience: Henry Higgins' total misogyny might have been 'softened' by humour and music when it was first conceived, but in 2018, there were audible gasps from women seated near me (and my 20 year old son), every time Henry uttered one of those elaborately cruel put-downs. 

Refreshing perspectives indeed!

Which brings us to this production. GMS have staged My Fair Lady three times previously in 1977, then 1989 and 2002. My memories of 2002 are like yesterday, but this production felt particularly fresh and vibrant. The combined effect of the colour palette of the stunning set design, costumes, and evocative lighting all serve as a great visual reminder that this story is primarily about the former, barbaric class-system in the UK.

Even with seven songs cut out, this show is famously long, but inventive blocking, using the stage apron and the auditorium itself, served to diminish the impact of multiple scene changes, which kept the pace zipping along. Additionally, using the centre aisle of the theatre undoubtedly added a delightfully intimate feel to the previously so-so number: “Show Me”.

The musical direction and harmonies of all the 'big numbers' are all on-point (aformentioned son laughed audibly during 'Ascot Gavotte').

Marc Calwell as Henry and Monique Donath as Eliza have nice chemistry and both take on their iconic roles with depth. Mark Williams (who himself played Henry not just once, but twice before) returns as a highly-animated and amusing Col. Pickering. Robert Hickey chews up the plum role of Alfred P Doolittle while never letting the audience lose sight of the moral bankruptcy of his character. Ryan Mcgreal-Fitzpatrick's heart-melting voice and sweet demeanour make for a perfectly bashful Freddie and Brenda Donnelly's natural maternal charm shines through as Mrs Pearce. Local theatre legend Pollyanna Forshaw is gloriously cast as Henry's redoubtable mother, while Declan Dowling, David Rowe and Frank O'Toole provide huge laughs as Zoltan Karpathy, Harry and Jamie respectively.

Daniel Craig's first-up directorial effort for GMS gets an Ascot-worthy understated round of polite applause from this reviewer. In other words – bloomin' loverly!

Rose Cooper