Natalie Ford as Eliza Doolittle was just excellent. Singing fine, dancing perfectly adequate to the rather simple choreography required of the character, but her real strength was in her acting. She is an eloquent physical actor, and her expressive face, combined with her vocal range, gave her Eliza a spirit and fire that I associate more with Judy Garland in her prime than with the frequently more subdued Audrey Hepburn.
Ms. Ford’s force wonderfully crashed against Norman Moses’ immovable object. As Henry Higgins, Moses’ default expression of a slight self-satisfied smile made the Professor an even greater monster of egotism than the classic Rex Harrison grouch version. That Moses’ Higgins seems to think he is above it all makes the disruptions Eliza causes in his comfortable life all the more effective.
Rick Richter as Colonel Pickering was all that the role required: upright, honest, kind, generous, and courteous. He cannot be faulted if he is not as charming as the late Wilfrid Hyde-White—no one could be.
Joel Kopishke had a lot of heavy lifting to do in the role of Alfred P. Doolittle, and handled the part of cheerful reprobate well. I disagree with whomever made the choice to give the character a thick beard, which I think hindered Mr. Kopishke’s ability to mug; Alfred P. Doolittle is a great mugging role, and we missed some of that behind the facial foliage.
The principals were very well supported by Carol Greif as Higgins’ long-suffering housekeeper, Mrs. Pearce, and David Flores as the “hairy hound from Budapest,” Zoltan Karpathy. Diane Lane as Mrs. Higgins was marvelously kind, calm, and gracious—in a word everything her son is not. (Which makes me wonder, not for the first time, how Henry grew up to be such a pill. It must have been due to his father’s influence--.)
This also had to be one of the hardest working ensembles in theatre. When we’ve seen London street people, Ascot spectators, Embassy ball attendees, and Higgins’ household staff, it’s rather shocking to see only nine people in addition to the others taking a curtain call.
Stage business, as managed by Director Dorothy Danner was lively and clever, supplemented by enjoyable dancing choreographed by Pam Kreiger. The orchestra, directed by Shari Rhoades, supported the singers well and had excellent tone.
Costume design by Chris March was a major area of interest, in particular the Ascot scene, for which Mr. March provided some amazing outfits, in particular the hats, which nevertheless did not overwhelm the action. That bit of fantasy aside, I was equally impressed by how well the everyday outfits of the street people and servants looked. The Embassy Ball sequence was costumed with grandeur and elegance that was period-appropriate and wisely did not attempt to match the Ascot scene for excess.
The reconfigurable set pieces, especially when decorated with Higgins’ fine furniture, looked very well, and again gave the actors all they needed.
This was my first experience seeing “My Fair Lady” live and I was very glad I went. It is truly one of the classics of musical theatre, and the Skylight did it justice.
Highly recommended. "My Fair Lady" runs through December 27th.
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