My Fair Lady

The GSOV, with nearly 90 years of wowing audiences with the operas of Gilbert & Sullivan, has made the decision to stage their first full-fledged Broadway show. With both dramatic and comical elements and large ensemble numbers similar to G&S, My Fair Lady (hailed by many as the greatest musical of all time) is the perfect choice and ‘with a little bit of luck’ a sold out season will ensue.

Acclaimed director, choreographer and set designer Robert Ray, assisted by Daniel Felton, have ‘pulled out the stoppers’, and given Melbourne audiences, to quote “Get Me To The Church On Time” - a production ‘spruced up and looking in its prime’. Based on the 2018 New York Lincoln Center Theatre revival, this version features the story and songs that fans have adored since 1956, whilst adding in a handful of new observations and refinements for good measure.   

Whilst G&S productions usually consist of a simple set or two, My Fair Lady contains a plethora of elaborate sets and up to six costume changes for some performers.  Robert Ray’s sets, based around four granite columns, are truly remarkable. With careful repositioning and added set pieces, we are transported to various locations around London including the outside of the Covent Garden opera house and flower market, the ballroom of the Embassy and even Higgins’ study. Additionally, beautiful hand painted scrim curtains are used in a few scenes featuring a panoramic view of old London, the exterior of Higgins’ apartment block and a glass conservatory. The back of the stage is cleverly lined with silhouette miniatures of famous London landmarks. 

The high quality of the choreography is the evident result of Robert Ray and ballet mistress Justine Miles’ illustrious dance careers. With an onstage cast of fifty, there is always so much to take in, especially during the dance numbers at the Covent Garden flower market, Ascot races, the Embassy Ball and the “Get Me To The Church On Time” routine. Lighting Design (Frank Croese) and Sound FX Design (Jamie Tampion) are subtle and suitable for the era of the show. The sounds of galloping horses, church bells ringing or recorded voices coming out of gramophones were used to great effect. All dialogue was audible and there was good balance between the vocals and orchestra. The costume and hair/make-up teams have outdone themselves, especially during the Ascot Races and Ball scenes, which were a feast for the eyes.   

Musical Director Timothy John Wilson is to be congratulated on putting together such a professional orchestra and pulling off this gruelling three-hour score. The Overture and the Playoff music really highlighted the talent of these 30 musicians. Great work everyone!

There are so many standout performances in this massive cast. Seasoned performer Lauren Lee Innis-Youren is so at home in Eliza Doolittle’s shoes, it’s as if she’s been playing the role for years! Her pitch perfect vocals, both in cockney accent (“Wouldn’t It Be Loverly?”) to elegant English (“I Could Have Danced All Night”) are stunning. At times Lauren’s tone reminded me of a young Julie Andrews. This is such a huge role both in dialogue and song and Lauren never misses a beat! 

Ash Cooper, who is well known for his comic roles, is well cast as Professor Henry Higgins. This has to be one of musical theatres most difficult roles, with the huge amount of monologue and very wordy fast paced songs. It’s a nice change to hear Higgins character sing in tune, rather than just talk on pitch as previous actors have done. The chemistry between Higgins and Eliza is so great that it keeps us guessing right up to the finale where their futures lie. Together or apart? Kieran Murphy is well cast as Higgins’ sidekick and Eliza’s kind hearted supporter, Colonel Hugh Pickering. His comedic timing is impeccable. With over 50 years of theatre experience, Kieran is obviously at home on stage and this is evident by his eloquent performance. 

Ron Pidcock’s performance as Alfred P. Doolittle is inspiring. With a career of nearly 70 years, Ron plays this role with the youthfulness of a man half his age. His jaunty, bawdy, and boozy renditions of “Get Me To The Church On Time” and “I’m Getting Married In The Morning” received rapturous applause. Jennifer Wakefield played Mrs Higgins with a warmth that endeared her to the audience. Although this is a non-singing role Jennifer received much applause on several occasions for her well delivered one-liners. Daniel Felton plays Freddy Eynsford-Hill as a naive, stalker-like character, ‘madly in love’ with Eliza, although he doesn’t seem to have any notion of what true love is. All the same the audience is spellbound by his ode to Eliza, “On The Street Where You Live”. Daniel’s old-world charm and rich lyric baritone voice are like honey and the audience was captivated. Nicky Wortley’s role as Mrs Pearce is a lot bigger than in the movie version and with her well-honed accent and winning charm she handles it impeccably. Andrew McGrail is perfectly cast as Zoltan Karpathy, the Hungarian fraudster who claims to speak over 30 languages. Other roles included Honi Walker (Mrs Eynsford-Hill), Robyn Licenblat (Mrs Hopkins/Lady Boxington, Stephen Capon (Harry) and Sean Reid (Jamie).

Lastly, but not least, the ensemble were all individually outstanding, changing roles and costumes on numerous occasions. The Cockney Quartet with their beautiful harmonies and the addition of the full chorus during “Wouldn’t It Be Loverly” was spine-tingling. Other highlights included the servants singing “Poor Professor Higgins”, the “Ascot Gavotte”, performed by a well-coutured ensemble of race-goers and the rousing act two showstopper “Get Me To The Church On Time”.  

The production concluded with the Director and creative and backstage team coming out to take a well-earned bow to the thunderous applause of a full house of very happy and satisfied theatre-goers. The cast were overwhelmed by the love in the theatre and the bows went on and on.  No one wanted the night to end!

‘You did it’ GSOV! Your first Broadway show.

‘You could have danced all night’ and we would ‘still have begged for more!’

Jonathan Cox

Photographer: Pinni Biber