Review: My Fair Lady

In recent years, new ‘modern’ musicals appear to come (and go!) at the drop of a hat and most of them would sit comfortably in the category of ‘musicals for the moment’.

Indeed, how some of them ever reach the stage of even being produced is a mystery as only a small percentage of them display any likelihood of achieving the longevity of some of the classics of the genre.

Sadly, many classics are being, and have been, forgotten in the rush to stage the latest ‘Everybody’s talking about’ show.

However, one such classic, My Fair Lady, which is currently being staged for the first time on a local stage in close to ten years, courtesy of Kaleidoscope, remains an evergreen.

In this case, the long gap between productions of the show was down to non-availability of the performing rights rather than any lack of interest in the piece.

Not only was it great to see this ‘grande old dame’ of musical theatre again, but also a joy to see it directed with such a fresh, focused and engaging approach by Kerry Rooney, who also proved to be an exceptionally good, if different, Prof. Henry Higgins.

This was a well thought out approach and one that allowed us to focus on, engage with, and to appreciate the changing relationship between the two main characters in a stripped back production, whilst always giving the piece the respect that it deserves.

From its unusual solo violin opening to its romantic closure, this faster-paced (as opposed to fast-paced … it IS My Fair Lady, after all) production boasted many innovations.

The main advantage of this staging was its ‘minimal approach’ to scenery and sets, which allowed the action to flow with virtually no interruption between scenes and cut the show’s overall running time considerably, giving the piece more pace than usual.

However, it is also important that attention to detail is increased to compensate for the loss of sumptuous sets. While such elegance was achieved with great costuming and appropriate ‘flown’ drapes, projected imagery etc., I felt things like the on-stage pillars could have had marble effect lines painted on them to make them more stately and the fire in the bin could have had some sort of light glow and, especially during The Ascot Gavotte, uniformity of ladies footwear is essential in such a scene as not to takeaway from its delightful choreography and co-ordinated costuming.

It must be said that these are relatively small criticisms in an otherwise impressive and visually pleasing production.

Felicity Rooney’s choreography, ranging from the elegant to the lively, was always good and, at times (like the tankard dance), had nice innovative touches, while Musical Director, Ciara Bowman, teased some brilliant vocals and beautiful choral work from such a small ensemble, especially during the Servants’ Chorus.

One potentially controversial decision (probably more to do with budget than artistic approach) was the use of pre-recorded music instead of live musicians and there can be strong arguments both for and against just such a scenario.

Although not wanting to offend the many musicians who rely on such work as part of their livelihood (even if they have to perform in a loading bay in a venue with no pit), it worked to a degree, but, at times, lacked the required attack needed in songs like Just You Wait.

Rooney provided some strong direction throughout and, in keeping with his minimal approach, used off-stage lighting in place of an actual opening door when Freddy made a visit to the house.

Also, a pivotal moment for Higgins was emphasised when, at Ascot, all eyes were following the horses except for his as he watched Eliza with a mix of nervousness and admiration.
At the same time you can find others which aids in chewing check that now purchase cialis online and related structures.

Another impressive piece of direction was during the garden scene when the silences between Higgins and Eliza were as meaningful as their dialogue as this was so well realised.

Rooney also impressed in his playing of Higgins as a younger man, which made the final romantic element more believable and he also managed to hold his patter-style vocal delivery and perfect diction throughout.

This production reunited Rooney with the equally talented Aideen Fox; his stage partner in the recent production of Me And My Girl at the Grand Opera House (another Cockney rags-to-riches story highlighting class division).

Fox was a perfect Eliza Doolittle and made a seemingly natural transformation from flower girl to a lady and proving that she was as strong-willed as he was both stubborn and arrogant.

Her vocals were outstanding throughout and ranged from the delightful in I Could Have Danced All Night, to the aggressive in the revengeful song, Just You Wait, which she performed with appropriate commitment.

They were well supported by Kevin McReynolds’ more sympathetic Colonel Pickering and Gerry McBrien’s experienced playing of Alfred P Doolittle and a small but good cast and chorus.

There was great poignancy near the end as the solo fiddle played while a lonely Higgins finally realised that he had indeed grown accustomed to Eliza’s face, followed by a beautiful ending with a knowing smile shared between Higgins and Eliza as the curtain fell.

This rags-to-riches story is well worth a revisit for those who have grown up with it … or, for many, a chance to meet this classic ‘fair lady’ for the first time!

Damien Murray

My Fair Lady

Kaleidoscope

The Theatre at The Mill, Newtownabbey

Tue 21-Sat 25 Nov, 2017