Review: MY FAIR LADY at Shaw Festival

Turning a classic work of literature or play into a musical always is a risk and there certainly have been multiple successes, but even more failures. Remember the musical version of "Gone With the Wind," "Breakfast at Tiffany's," or "The Man Who Came to Dinner?" Well, you're not alone- all were major flops. So when the prospect of adapting George Bernard Shaw's brilliant "Pygmalion" into a musical comedy arose, even the great Rodgers and Hammerstein declared it couldn't be done. Happily the duo of Alan Jay Lerner and Frederick Loewe took a stab at it, having paired up for their very successful BRIGADOON, years before.

Shaw's Pygmalion story harkens back to Geek mythology, as Ovid writes of a sculptor falling in love with the statue of a woman of he carves. Shaw's story  fashions a learned man who is an expert in language who believes he can change a common flower girl into a princess merely by teaching her to speak properly. Along the way, the two develop emotions that neither one was bargaining for. The brilliance of MY FAIR LADY that amounted to it's success on the stage and and eventually the silver screen  lies in the fact that the majority of Shaw's script has been preserved, resulting in pure alchemy of musical theatre.

Allan Louis assumed the role of Henry Higgins just last week, and  breaks the mold of previous Higgins' in his portrayal of the misogynistic elocutionist. Unlike the originator of the role Rex Harrison, Louis actually sings the score, rather than speak-singing. The result truly makes Higgins a character at home on the musical stage. When he finally sings the ballad "I've Grown Accustomed to Her Face," the pathos of the melody shows a man in love. And in a brilliant bit of staging, at the pivotal moment who Higgins yells "marry Freddy?," he falls to his knees, as a man  who finally comes to the realization that  may be losing the object of his desires. Louis is a tall imposing man who revels in Higgins lack of social graces, but his Higgins is man who appears outwardly strong but whose inner soul cracks on the surface as he finds his own self discovery.

Kristi Frank is a revelation as the cockney flower girl Eliza Dolittle. Shaw ensures that her comedic moments in Act I are fully balance with her dramatic metamorphosis in Act II. Frank breathes new life into an all too familiar role, squawking and bellowing, but later delivering one of the funniest Ascot scenes this reviewer has seen. Her singing voice is utterly charming in "Wouldn't It Be Loverly," and full throated in the beguiling "I Could Have Danced All Night." 

David Alan Anderson finds all the right bits of humor and empathy to balance the brusqueness of Higgins. David Adams gives a hugely comical performance as Eliza's father Alfred Doolittle. Adams is gleeful in his drunken stupors, singing with gusto while delivering some side splitting little jigs and thrusts in his comedic choreography during "With a Little Bit of Luck."

Taurian Teelucksingh is Freddy Eynsford-Hill, the posh young man who falls head over heels for Eliza. Teelucksingh's strong tenor voice was perfect for one of composer Frederick Loewe's most well known love songs, "On the Street Where You Live." Happily the audience gets a reprise, so his rendition is heard again.

Shaw Festival favorites are seen here at their best. Patty Jamieson brings a smirk humanity to the role of the housekeeper Mrs. Pearce.  Meanwhile Sharry Flett makes the most of the juicy role of Henry's mother, Mrs. Higgins. Flett finds superb humor in her facial expressions as well as looks of befuddlement regarding her son's behavior, to say nothing of her perfectly placed moments of silence.

Co-Directors Tim Carroll and Kimberley Rampersad have a firm grasp of the source material and ensure the Shaw's wit alongside Lerner's own book and lyrics are delivered with a crisp freshness, shedding memories of past productions. The three hours flew by, as the audience was captivated. The lush orchestra added to the elegant production, even if the famous overture was cut (no doubt, in the interest of time).

Set Design by Lorenzo Padua was sleek, with lovely large grill work framing the stage, reminiscent of the Covent Garden area of London. Costumes by Joyce Padua were often a mixed bag, while perfectly fashioned, her color choices and embellishments for the ballroom scene were garish. The famous Ascot Gavotte scene costumes were understated and  so muted that details were lost in a scene that begged for more.

MY FAIR LADY is quite obviously the most perfect choice of a musical that the SHAW FESTIVAL could program and this 2024 musical offering is a  delicious delight, sure to please. It plays through December 22, 2024 and is just another great excuse to visit  the lovely Niagara on the Lake  area during the holiday season.

Contact shawfest.com for more information

To post a comment, you must register and login.