My Fair Lady
Tuesday 10th to Saturday 14th March 2020
My Fair Lady is based on George Bernard Shaw’s play, Pygmalion. In this beloved musical, pompous phonetics professor Henry Higgins is so sure of his abilities that he takes it upon himself to transform a cockney working class girl into someone who can pass for a cultured member of high society. His subject turns out to be the lovely Eliza Doolittle, who agrees to speech lessons to improve her job prospects. Higgins and Eliza clash and then form an unlikely bond, one that is threatened by an aristocratic suitor.
PHOTO GALLERY
(PHOTOGRAPHER: ANDY WATKINS)
NODA REPORT
My Fair Lady
13th March 2020
DIRECTOR Matthew Chancellor
MUSICAL DIRECTOR Lucas Elkin, assisted by Alex Outlaw
CHOREOGRAPHER Siobhan Austin-Guest
Report Author: Decia Ranger
What an absolutely sparkling production of this classic musical which first charmed theatre goers back in the fifties, and is still a firm favourite today.
In this production the roles of the two main characters were shared. On the evening I attended Matthew Chancellor played Henry Higgins, a role in which he looked totally at ease and gave an excellent performance as the seemingly heartless expert in phonetics. Gemma Alexander was superb as Eliza, from Cockney flower girl through to Duchess, including the beautiful delivery of her songs.
Looking through the programme before curtain up I did wonder how the show would work without Alfred Doolittle. But I needn’t have worried. Debbie Wileman gave a magnificent performance as Eliza’s mother Miss Agatha P Doolittle. This tweak to the casting may have been out of necessity (lack of men), but it resulted in a fresh approach which really worked. Her rendition of Get Me to the Church on Time, accompanied by the chorus and dancers, with wonderfully energetic choreography, was one of the highlights of the evening.
A great piece of character acting by Jason Austin-Guest who really made the most of his role as Colonel Pickering. Mrs Higgins was well played by Sara Shaw, chastising her son for his callous treatment of Eliza to whom she has taken a liking
Wilf Jones made the perfect Freddy Eynsford-Hill and his solo, ‘On the Street Where you Live”, was very well sung. His face was half hidden in shadow but I would not wish to question the lighting plot which was in expert hands, so presume this was intentional to represent the lighting on the street.
Housekeeper Mrs Pearce is the voice of reason, trying her best to instill some semblance of calm, and she was well played here by Fiona Wilson Waterworth.
This was a very well directed and choreographed production. Principals and chorus all did justice to the musical numbers we know and love, and there were some beautiful harmonies.
I thought the projected black and white scenery was ideal for the outdoor scenes but, and this is my only criticism, not so in the study. The contrast between the two dimensional monochrome fireplace and surround and the colourful bookcases either side, didn’t seem to work. Apart from that the stage was very well dressed at all times and the centre opening gauze was used to very good effect.
Congratulations to the ladies of the wardrobe on the lovely costumes, with a special mention for the superb black and white Ascot scene.
The orchestra under the direction of Lucas Elkin provided excellent accompaniment. The balance of sound was good, never drowning out the singing.
Another production of the highest standard by SWMTC. Very well done to everyone involved.