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My Fair Lady: Greatest Musical of the 20th Century

  • Written by News Company

My Fair Lady is a musical based on the 1913 play by George Bernard Shaw Pygmalion, with a book and lyrics by Alan Jay Lerner and music by Frederick Loewe. The story is of Eliza Doolittle, a Cockney Flower girl who takes speaking lessons from Professor Henry Higgins, a phonetician so that she can pass for a lady. Original Broadway and London show starring Rex Harrison and Julie Andrews.

Broadway's musical production in 1956 was a notable critical and popular success. He set a record for the longest series of Broadway shows to date. It was followed by a successful London production, a popular film version, and many times. My Fair Lady was called "the perfect musical".

My Fair Lady Broadway Cast:

  • Lauren Ambrose as Eliza Doolittle

  • Harry Hadden as Henry Higgins

  • Norbert Leo Butz as Alfred P. Doolittle

  • Diana Rigg as Mrs. Higgins

  • Allan Corduner as Colonel Hugh Pickering

  • Linda Mugleston as Mrs. Pearce

  • Manu Narayan as Zoltan Karpathy

My Fair Lady The Musical Review:

My Fair Lady tour begins in Washington, with an inventory of actors offering excellent performances of the contested characters whose playwright George Bernard Shaw dreamed in "Pygmalion" and Alan Jay Lerner and Loewe were forced to sing. It is therefore a very well managed version of the 1956 musical. Tickets4Musical reported its protagonists, Laird Mackintosh like Professor Henry Higgins and Shereen Ahmed like Eliza Doolittle, make a perfect combination of Shavian's temperaments: Mackintosh skillfully assesses Henry's high petulance and Ahmed convincingly embody Eliza's unruly refinement of nature.

That Ahmed can ridicule these timeless melodies by Lerner and Loewe: "Wouldn't it be Loverly?", "Just You Wait", "Without you" and, therefore, the haughty spirit "I could dance all night". remarkable heir to a paper treasure. Supporting her and Mackintosh are two other adorable performances, in particular Adam Grupper, such as the modeling of an oily Alfred P. Doolittle and Kevin Pariseau, who unleash the decency of Colonel Pickering, Henry's new partner.

Sometimes, during a national tour, you get the disappointing note of a cheap facsimile, the feeling that you simply looked for a designer brand but that you ended up with an imitation. Not this point. Sher, with the exuberant help of seamstress Catherine Zuber and choreographer Christopher Gattelli, among others, brings to the general public an equivalent light experience that the Lincoln Center Theater offered at his Broadway home, Vivian Beaumont.

Fortunately, Michael Yeargan's swirling ensemble on Henry's Wimpole Street in London retains its Edwardian style, although the tour version is not strictly adapted to the Opera. For his greatest relief, sound designer Marc Salzberg made sure that Lerner's pristine words were heard as quickly as possible in a huge space that did not always provoke musicals.


"My Fair Lady" is practically indestructible, the gold standard of the musical to mix melody and history. In almost three hours, he doesn't wonder why someone, or everyone, breaks into the song. The melodies are so suited to the character's characteristics and therefore to the plot that they have embarrassed a custom Jermyn Street costume.

It occurred to me during this umpteenth exhibition on "My Fair Lady" that Henry's title song, "I Got Used To His Face", his air of self-awareness after Eliza's transformation, is not the sentimental ballad that we often consider. to be to be. The musical is not, as Sher's version clearly shows, it is really about the education of the professor, his softening in the presence of a beautiful girl who is surprisingly stubborn.

She can be a woman who does not accept a man's idea of ​​what should be. Mackintosh establishes Henry's self-esteem, the man-son quality so convincingly that "I got used to his face" reveals here that Henry did not learn much about women, except that maybe want one.

Sher discusses the misogyny that Henry expressed throughout the show by adding their consequent adjustment to the ambiguous closing hours of the musical when Eliza and Henry meet face to face in their studio and gives the final order: "Eliza, where the hell are my sneakers" Is the request ironic or presumptuous, or both? The director's response will be revealed. But Henry's reaction from Mackintosh when the power goes out seems to be the only bad note on a flawless night. "

Grupper, an actor I have loved for years, appears in "My Fair Lady" as a particularly sympathetic Alfie, he with a harsh eloquence and saturated with beer. "Take me to church on time", as Houstonbrite Grupper sings, and therefore the heads of the house, and described by Gattelli, release the tension that has accumulated due to the repressed scenes of the upper cortex, by especially in the wonderful satire in "Ascot Gavotte".

Among the waves, Leslie Alexander stands out as being the teacher's biting and biting mother, while Gayton Scott admires the essential warmth of unconditional Mrs. Pearce admirably. And Sam Simahk, playing Freddy Eynsford-Hill, plays so well in "On the Road Where You Live" that he is simply tempted to ask him to sing it across town.

However, it is the captivating Ahmed who is here, paraphrasing Lerner and Loewe, the beginning and the end. With qualities reminiscent of the illustrious precursors of Eliza like Julie Andrews and Audrey Hepburn, not to mention the attractive Laura Benanti, you can imagine that as a splendid "My Fair Lady" along the way, she will go far.

What Peoples said about Broadway Musical "My Fair Lady"

  • Wouldn't it be nice to rediscover the magic of My Fair Lady by Lerner and Loewe on Broadway? And wouldn't it be "warm and cuddly" if it were a tasteful staging that captured the style and grace of the legendary original? Well, Bartlett Sher's new staging in Vivian Beaumont is and is. The Lincoln Center Theater My Fair Lady is adorable, and you can quote me about it.

  • The revival was staged in the Sher family-style to make a classic fresh and vibrant without completely ignoring the original script and score, incorporating excellent production values ​​(including a two-stage rotary set for the Higgins house) and present layered presentations of major players

  • If you have it, brag. Beaumont's splendid scene at Lincoln Center was made for great classical musicals like "My Fair Lady" and mean girls by Lerner and Loewe, and assistant Bartlett Sher was born to represent them. This jubilant awakening is meticulously staged and completely welcome, despite the eccentric choice of Lauren Ambrose as Eliza Doolittle.

  • Of all the great Broadway musicals of the post-war period, "My Fair Lady" is the only one to take a great piece of literature, "Pygmalion" by George Bernard Shaw, and transform it into an equally distinguished musical comedy which is faithful to the spirit and the letter of its raw material.

  • The brilliant revival of Bartlett Sher of Lerner and My Fair Lady of Loewe came to Lincoln Center to demonstrate that it can be done. A beloved musical from another era can continue to kick, and as it does here, it can even do so without making radical cosmetic changes, as long as its eyes are open.

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