This spring Lincoln Center’s Vivian Beaumont Theatre is presenting the first new production of Lerner and Loewe’s irresistible musical My Fair Lady in a quarter-century. Opening night for this production, directed by Bartlett Sher, is April 19. We were lucky to get good seats for a preview performance and enjoyed it tremendously.
Lauren Ambrose (Claire in Six Feet Under) plays the redoubtable Eliza Doolittle, with spirit and a knock-your-socks-off singing voice. It turns out she had classical voice training, but this is the first time since high school she’s had a role that let her use it.
Ambrose’s Eliza is more than Higgins’s life-sized doll, as she’s transformed from cockney flower girl to elegant lady. In a New York Times interview, she said, “I’m fighting for the dignity of the character.” This helps counter some of the show’s ideas that are uncomfortably dated, though Henry Higgins remains a deliciously irredeemable throwback. His “Why Can’t a Woman Be More Like a Man?” is right out of a time capsule. Yet the play as a whole overcomes that successfully in this #MeToo moment.
You’ll recognize Harry Hadden-Paton, who plays Professor Higgins, from numerous roles on British television, most recently in The Crown. Unlike Rex Harrison, he can actually sing. The cast-member who is our sentimental favorite is Allan Corduner as Colonel Pickering. We met him when he played Poirot in Murder on the Orient Express at McCarter Theatre, and seeing Diana Rigg as Mrs. Higgins was a delicious treat!
Any actor playing Alfred P. Doolittle has the gift of two rousing numbers—“A Little Bit of Luck” and “Get Me to the Church on Time,” and Norbert Leo Butz plays them for all they’re worth, supported by his two semi-sober pals. He has everything he needs to bring the house down, and, boy, does he. Great support from the huge (29 members!) and hugely talented ensemble.
Michael Yeargan’s main set is on a revolving turntable, and the rest is designed for quick scene changes and continuous movement. Catherine Zuber’s costumes are loverly, especially for the scenes at the Ascot races—a golden opportunity for the costume designer to pull all the stops. The red taffeta coat Eliza wears to the Embassy Ball is a brave and dramatic choice for the red-haired Ambrose. That’s a scene where her dress has to be up to the drama of the moment: “She is a princess,” after all. But I’m still trying to figure out what color that dress was.
I especially appreciated that the orchestra—part of which appears on stage for the ballroom scene—did not drown out the singing.
MFL is often considered “the perfect musical.” If you’ve never seen the show, or if you haven’t seen it in years, it will leave a big smile on your face. “What in all of heaven can have prompted you to go?” The promise of a terrific evening at the theater!