There are few classic musicals as well-known and well-loved as Lerner and Loewe’s perennial My Fair Lady.
Tabitha Cox as Eliza Doolittle and the cast of My Fair Lady | Photo © Nick Feierabend
It offers a constant stream of memorable songs that have caught the audience’s imagination for nearly 70 years, coupled with a sharp-yet-sweet rags-to-riches story complete with the seeming promise of a fairytale ending.
Most people know it from the Oscar-winning film, but if you are seeing the stage incarnation for the first time with Bath Light Operatic Group’s version this week, you’re in very safe hands and may frequently forget this is not a West End show.
This is a strong, confident production with some first-rate performances and a highly polished orchestra under the assured baton of resident musical director Matthew Finch. It doesn’t miss a note.
Claudia Pepler-White, the long-time artistic director of Frome’s excellent Merlin Theatre, makes her BLOG directorial debut here in great style, and delivers a slick and very humane production, complete with her own twist on the often-problematic final moment.
The theme of Eliza’s abusive treatment by Professor Higgins is tricky to sell in modern times, but here it is presented utterly believably and with a satisfying resolution.
Alison Price’s choreography is bright, effervescent and well-drilled, especially during Get Me to the Church on Time, a genuine highlight.
Costumes under the direction of Donna Ealey pay homage to many from the film, but it is hard to imagine an audience wanting anything different. Jon Vooght’s lighting design is equally adroit, complete with very effectively-timed blackouts.
The strength of the story very much relies upon the believability of the characters, and this production features some excellent performances.
Tabitha Cox as Eliza is stunning, in a role that seems perfectly suited to her talents; her vocals are beautifully modulated, and her initial Eliza wisely eschews the often pantomimic broad cockney strokes that are sometimes used, in favour of a much more realistic and empathetic character, which also makes her transformation more credible.
Her later scenes reveal strength and vulnerability in a very humane blend. It’s hard to imagine how this role could be better portrayed.
As her tutor/tormentor, Rob Dallimore gives us a fusty, fidgety Higgins, very much the austere father-figure interpretation, and shows his assured singing talent during songs which are often more spoken, to great effect.
His more reasonable sidekick Pickering is played by Bob Constantine without the befuddled bluster which is frequently used, as befits his military bearing, and he is in fine voice for You Did It.
Ed Corbishley sings On the Street Where You Live with a commanding tenor voice as the lovesick hapless Freddy, endearingly out of his depth with Eliza. And Geoff White steals every scene he is in as Eliza’s loveable rogue father Alfie, with a confidence-trickster’s twinkle in the eye, and impresses equally with vocals and footwork during his big numbers which are enthusiastically supported by the seamlessly multi-roling ensemble.
Bath is very fortunate to have local creatives producing a show of this standard, and if you don’t leave the theatre grinning and humming one of the songs, check that you have a pulse. Abso-bloomin-lutely loverly.
My Fair Lady is showing at Theatre Royal Bath until 14th September. Box office: 01225 448844.
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Reviewer: Steve Huggins
