Music: Frederick Loewe
Book & Lyrics: Alan Jay Lerner
Director: Bartlett Sher
Direct from London’s Coliseum, and co-produced by the English National Opera, Bartlett Sher’s ‘My Fair Lady’, the beloved Lerner & Loewe classic, parades its way into Manchester’s Palace Theatre this week – the final destination on its UK Tour. This latest staging of the much-loved traditional classic firmly proves the notion that the old ones really are the best. Following the iconic Eliza Dolittle, (originated by Julie Andrews, made famous by Audrey Hepburn) on her ascent from cockney ‘gutter-snipe’, to the dizzy heights of aristocracy, this rags-to-riches tale will leave you ‘darncing’ all night.
Bartlett Sher understands every microfibre in the fabric of this story, down to it’s very stitching. His staging puts every single body on stage under a magnifying glass, breathing a life into each and every player. It’s these glistening, microscopic details in the work of the expertly-utilised ensemble that catch your eye throughout, allowing us to become completely immersed in Edwardian London. The aforementioned ensemble are a well-oiled machine, working harmoniously as one but all the while gleaming individuality and oodles of character, often reminiscent of a Singer-Sergeant painting come to life. Each individual cog has a subtle story to tell, never spoon fed, but there for the taking if you’re lucky enough to catch it in the moment.
It is refreshing to see such a vibrant and well-accomplished ensemble, full of vivacious personality, brilliantly cast by Amy Beadel for Grinrod Burton Casting. Their accapella harmonies soar to the rafters of the theatre, with expert musical direction from Alex Parker. Navigating the orchestra and on stage cast through the much loved score, his musical direction is simply sublime.
Catherine Zuber’s elegant costumes and Michael Yeargan’s lavish set design heighten the ornate production value, from the get-go. Despite the gritty roots of the story originating in a poverty-stricken Covent-Garden, it’s no expenses spared from the opening scene. Later, we get feathered headpieces, dazzling jewels and gorgeous gowns adding finesse and grandeur. The races sequence showcases a palette of pastels, pleasing every eye – again showing off intricate levels of delectable detail. Eliza’s Cinderella-esque transformation, a real wow moment. Yeargan’s set thrills most when we are transported to the revolving 27A Wimpole Street, with it’s rich mahogany interior, spiraling staircase and eclectic brick-a-brack – a metaphoric insight to the spinning yet masterful mindset of Higgins. Lighting by Donald Holder silhouettes the feast of period ensemble characters, creating beautiful tableaus of ghosts from the past – all adding to the decadence. His artistry aids the notions of passing time and moved the story with grace and finesse, like the turning pages of a novel.
Choreography by Christopher Gattelli injects energy and delight whilst maintaining precision and panache, complimenting the work of the production’s set design and direction perfectly. As splendiferous as the production, Sher’s direction highlights subtleties that sit in the narrative that allow us to oversee the dated values portrayed in the book, and instead appreciate the beautiful simplicity in the stories timeless message.
It remains true to the period and loyal to Frederick Loewe’s book. Through this Charlotte Kennedy is able to give a multi-dimensional authentic performance as lowly Covent-Garden flower girl Eliza Dolittle. She delights in Eliza’s tantrums and sass. You feel her pain when she is spoken of and not to. She is vivacious and effervescent one minute, and vulnerable and melancholic the next. A very dynamic performer with a crystal-clear vocal. Her comedy chops are put to use as she battles through her elocution lessons, and thanks to the generosity of her co-star Michael Xavier (whose Higgins is exquisite) an electric on-stage partnership is created .
Xavier is an adept storyteller, and cements himself as a catalyst in driving this narrative forwards, bubbling and simmering with enigmatic energy throughout, before rupturing in turmoil during the eleven o’clock number “A Hymn to Him” – in which he aces Alan Lerner’s lyrics with mastery, all with foppish physicality and Everett-esque charm. He is complimented throughout by John Middleton (of Emmerdale fame) as Colonel Pickering, who is absolutely perfect casting for this role and a joy to watch. Tom Liggins gives a goose-pimple inducing “On the Street Where You Live”, oozing personality and charm. A stunning performance. Heather Jackson is atherial as Mrs Higgins, stealing status as the all-knowing and radiating womanly wisdom. Lelsey Garret makes an understated and lovable Mrs Pearce, her knowing nods and aside glances welcomed with open arms. And last but by no means least – Adam Woodyatt eases from Albert Square to Lisson Grove with aplomb. He leads showstopping number ‘Get me to the Church on Time’ with utmost gusto and panache, capturing the true grandiloquent heart of this show.
It really is a must-see. An example of a revival done right and an example of what touring commercial musical theatre should be. It’s rich in character and showcases the very best of what today’s musical theatre industry has to offer, albeit in such a timelessly traditional piece. Bravo to the cast, crew and creatives for this truly exquisite and comforting piece, fit for a high-society Hungarian princess… or even just a wide-eyed flower girl.
Runs until Saturday 1st April
The Reviews Hub Score
A 'loverly' lavish spectacle!
