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Review: My Fair Lady

A whimsical and joyful experience


'My Fair Lady' is an iconic 1964 musical comedy-drama by Cukor and Lerner, based on George Bernard Shaw’s 1913 stage play 'Pygmalion', which was immortalized by Audrey Hepburn and Rex Harrison’s portrayals of Eliza Doolittle and Henry Higgings. It follows the story of the 'education' of Eliza Doolittle and her metamorphosis from a poor Cockney flower girl into a well spoken lady at the hands of Henry Higgings, an arrogant and learned phonetics teacher who develops a soft spot for Eliza.

Most of us had the joy of being exposed to 'My Fair Lady' at some point in our secondary school careers and the musical remains a whimsical and jubilant memory of better times. With the playful and resilient nature of Eliza Doolittle alongside Henry Higgings' arrogance turned paternal tutelage, it is no wonder it is unversally venerated and adored.

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Photo credit: Emma Howlette

This ADC stage production encapsulates the endless charm of the original; the play opens with a joyous chorus-like ensemble who, with charming and harmonious choreography, set a precedent of high standards for the show. Credit must be given to the costume designer as the welcoming combination of warm tones and dungarees adorned almost identically on every member of the ensemble provided a cohesion and harmony which seamlessly held the production together.

Another highly effective aspect of the production was the fun and quirky scene transitions; members of the ensemble remained in character as they moved and rearranged the props with little quirks such as a member quickly rushing out to collect a 'forgotten' plant. This contributed to both the lovability as well as the exceptionally high quality of the staging.

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Photo credit: Emma Howlette

The props themselves were characteristic of the original and undercut the fairly minimalistic staging with a homey feel. This is not to say that the minimalistic nature detracted from the production, but rather channelled a focus onto the actors which was incredibly well deserved. The grassy background provided a consistency that tied the show together visually and was comedically utilised; the focus on the experience of the audience members is evident throughout.

A special mention must be given to Sophie Kean portraying Colonel Pickering, who’s consistentency and energy alongside Pickering’s characteristic chivalry added a contemporary edge to the character; Pickering became a joyful and mischevious sidekick compensating for Higgings' (Satvik Subramniam) hermetic nature.

The standard of acting and singing throughout the production was strong, and Subramniam was a polished powerhouse; occasionally kitchy and perhaps overacted, this suited this particular production perfectly as the sometimes flamboyant nature of his performance placed iconic songs such as “Why Can’t a Woman Be More Like a Man?” into the modern day, highlighting the comedic focus of this production.

Charlotte Horner’s reinvention of Eliza Doolittle encapsulated the joyous aspects of 'My Fair Lady', embracing the feminist triumphs the script has to offer while critiquing the problematic content which could not be removed due to copyright issues; Horner’s portrayal feels distinctly contemporary and offers a fresh new take on a venerated classic.

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Photo credit: Emma Howlette

Contributing to an overall joyful mood and hilarity was the occasional fourth wall break and directorial aberration – the interaction with the conductor of the live orchestra added to the encapsulating atmosphere and sense of cohesion between audience, orchestra and actors. The singing, accompanied by the orchestra, was meandering and strongly paced, it was successfully interwoven with the narrative, and wonderfully converged all of the individual aspects of the production into a thoroughly enjoyable whole.

Overall, this production is a wonderfully charming and whimsical performance as well as a thoroughly successful reinvention of a loved classic. This is a musical not to be missed, providing much needed respite from the intensity of Cambridge life.

5/5