That Cockney Classic

Lerner & Loewe’s Masterpiece

My Fair Lady first graced the stage in 1956 and has not slowed down since. The beloved classic has seen countless productions, but none better than the one currently at the Shaw Festival. It sparkles and shines, hits all the right notes, and is a joy to see. It never varies from the original book and lyrics.

There are sexist overtones in the story, written by men in a bygone era. A man who is basically a bully and a vulnerable young woman who seeks his help duke it out and find there is more to themselves than they imagined. This production makes it all seem fresh and new, in the use of colorblind casting, the many different physiques of the cast, as well as in the ambiguous ending.

I Could Have Danced All Night

Based on Shaw’s play Pygmalion, it is the story of the cockney flower girl, Eliza Doolittle, and the linguistics professor, Henry Higgins, who bets he can pass her off as a duchess after six months of training. It has captured the hearts of audiences for almost 70 years, a timeless rags-to-riches story that speaks not only to the benefits of moving up in the world, but also to the loss experienced when one no longer fits in either world.

Kristi Frank as Eliza Doolittle portrays her strength as well as her vulnerability in a strong performance. She perfectly expresses her longing for a better life in “Wouldn’t It Be Loverly?” Because of the grit she reveals in the opening scene with Higgins, one believes she has the ability to create that better life and seize an opportunity when she sees it. She gives as good as she gets with Higgins. Her beautiful voice soars to the heavens in “I Could Have Danced All Night” when she surprisingly feels her heart opening for the first time. Ms. Frank beautifully expresses the emotions of a young woman awakening to life’s possibilities and pitfalls, and her determination to be herself no matter what.

Allan Louis recently began his tenure as professor Henry Higgins and not only can he act, but boy can he sing, a skill not always seen in that august character, e.g. Rex Harrison, who sing-talked his way to a Tony award in the original production. Mr. Louis has the ability to charm in one moment and be a complete oaf in the next. He expertly expresses bewilderment at the opposite sex, as well as at his own emerging and very foreign and conflicting feelings. His self-awareness is almost non-existent and his expressions of confusion as to why he receives the reactions to his behavior that he does are very fun to watch.

The supporting cast and ensemble add more color and verve, from the exuberant dance numbers to the sardonic wit of Mrs. Higgins, played by Sharry Flett as a mother who knows her beloved son only too well, to Eliza’s father, the alcoholic philosopher dustman, Alfred P. Doolittle, played with great panache by David Adams, a man who can cut a rug as well as down a pint. Taurian Teelucksingh as the hapless Freddy has a powerful voice and sings “On the Street Where You Live” with great warmth and feeling.

Shaw’s disdain for the bored and detached behavior of the upper class is highlighted in the Ascot Gavotte, where elegantly dressed men and women barely move a muscle while watching a race. The costumes, particularly the women’s hats, are stunning in this scene. (A gavotte for those unfamiliar with the term, myself included, is a medium-paced 18th Century French dance).

A Loverly Show

Class distinctions drive this story, and Shaw never veered from skewering the middle and upper class disdain for the poor. His wit and wisdom are infused in every aspect of the musical. Even Higgins is appalled that speech patterns determined one’s fate, and that it was almost impossible to rise above one’s station in life. In this, he acts as Shaw’s spokesman.

The scenic designs of Higgins’ library with various listening devices, a circular staircase, and a wall of books; the vibrant flower market; and the barroom add to the ambience of each scene. The projections on the upstage wall give a feel for the places depicted in scenes, i.e. the tenements behind the flower market. The choreography is designed to fit the tone of each scene and is delightful to watch. In short, every aspect of this production is first class.

At a recent talkback, a woman said that she had never seen My Fair Lady before, and that this production is the most beautiful thing she’s ever seen. I leave you with that thought.