Review: ‘My Fair Lady’

Megan Amato reviews the musical production of My Fair Lady at the Edinburgh Playhouse theatre.

A NIGHT at the theatre always brings a certain level of pomp and flair, but with a traditionally British production like My Fair Lady, the atmosphere almost lends itself to fancy hats and (faux, if preferred) fur stoles.

Alas, while there were some exceptionally dressed people, this is 2022 (nearly 2023) and our version of our Sunday best is much different than those in the Victorian or Edwardian eras. The atmosphere created by the set and costume design and live orchestra certainly made up for it though.

Written in 1956, My Fair Lady isn’t a new production by any means. Adapted from Irish playwright George Bernard Shaw’s 1916 production Pygmalion, the plot is a classic prince to pauper type story with a lot of tongue-in-cheek humour and admittedly, very dated themes. After famed phonetician Henry Higgin’s runs into Eliza Dolittle, he boasts that, with linguistic training, he could turn the cockney flower seller into a “lady” within three months. Elizabeth, keen on improving her station and hoping to speak well enough to work as a florist, calls Henry’s bluff.

Higgins is one of my least favourite types of character – the pompously flawed protagonist who never actually learns any lesson nor changes his ways. Perhaps this is truer to real life, but quite unsatisfying to watch. However, I’ve always found the linguistic side of the story interesting. In the first scene, Higgins claims he can pinpoint accents and dialect down to the exact regions they are influenced by – or in Dolittle’s case, the exact street.

Regardless of my gripe with Higgin’s character and the rather undeveloped romance of the original script, the cast, crew, and orchestra of Bartlett Sher’s My Fair Lady did a phenomenal job setting the scene and portraying their very distinct and sometimes outrageous characters on stage.

Higgins may have been my least favourite character, but that just means that stage and screen actor Michael D Xavier did a phenomenal job at channelling such an unlikable character. Everything from his mannerisms and dialogue to his carelessly but technically good songs were done well, and it was especially gratifying to see his so-called unfadeable demeanour crack in his two songs “I’m an Ordinary Man” and “A Hymn to Him”.

Charlotte Kennedy was delightful as Doolittle; wilful and proud regardless of her circumstance and perfectly exasperating to those who look down on her – “Just You Wait” was my favourite song of the evening. Kennedy’s vocal range was showcased throughout the production, even as the musical numbers shifted from being sung in a thick cockney accent to received pronunciation (RP).

Veteran theatre-goers UK-wide (and likely beyond) will have heard of soprano Lesley Garret and been delighted to see her as Higgin’s dry and long-suffering housekeeper, Mrs Pearce. Her role may have been smaller, but her presence was felt in every scene and song she featured in.

Adam Woodyatt as Dolittle’s mercenary and vulgar father Alfred P Doolittle was outlandishly funny. Despite being a terrible father and likely a terrible person, his admittance of it made him instantly more likeable than Higgins. Woodyatt’s portrayal was spot on and his musical number “Get Me to the Church on Time” made for an exciting shift of tone.

The rest of the cast are no less impressive. From Heather Jackson’s proper cold Edwardian lady with a soft heart as Mrs Higgins to Tom Liggin’s adorable Freddy Eynsford-Hill (in which I had a bad case of second-lead syndrome) to the entire ensemble cast showcased their vocal and acting range – a truly professional performance.

I do think that we need to stop telling these Pretty Woman-type stories where the protagonist must completely change themselves to be worthy of love, but I admit that it makes for an entertaining production.

My Fair Lady is at the Edinburgh Playhouse until 7 January.

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