Classic ‘My Fair Lady’ at the Hippodrome

Madeline Powell as Eliza Doolittle

My Fair Lady was my first Broadway LP album, and I must have played it a hundred times, loving each song like it was the best of the best. The musical presents an enjoyable storyline woven together by a lush score, wonderful lyrics, lavish costumes and eye-pleasing sets. 

As part of Broadway’s Golden Age of musicals, it’s been a wildly popular and successful 6-time Tony Award winning show for over 60 years played throughout the world in dozens of languages. The 1964 film adaptation was a multiple Oscar winner and box office smash.  In short, My Fair Lady is a classic and has been appropriately dubbed by many as “the perfect musical.” It has been and continues to be my favorite musical of all time.

The Lincoln Center Theater revival of this masterpiece directed by Bartlett Sher that is now touring nationally is a welcome addition to the Hippodrome Theatre’s 2022-23 Season. As has generally been the case, the touring shows at the Hippodrome have been stellar, polished productions, so it was not a stretch for me to have lofty expectations about Lerner & Loewe's My Fair Lady given its pedigree and the theatre’s history of excellence.

At its core, the production stayed true to the original, and that is a major sigh of relief. After all, there is no need to mess with success, and Sher did little in the way of tinkering. This is evident during the uncomfortably obvious sexist scenes and songs that were acceptable in the 1950’s but are offensive by contemporary sensibilities.

The music by Frederick Loewe and the utterly outstanding lyrics by Alan Jay Lerner are the centerpiece of My Fair Lady.  Lerner’s book was based on George Bernard Shaw’s Pygmalion.  The talented leads and the orchestra led by director David Andrews Rogers are excellent in delivering the iconic songs.

Nonetheless, the opening night production experienced some technical issues, which are fixable and most likely won’t be evident in future presentations. Part of the set would not move forward downstage resulting in an unusual interruption of the presentation that lasted for about 10 minutes. In addition, there were some mic/sound problems in the first act that need to be addressed.

The story centers on a young Cockney flower girl, Eliza Doolittle, literally plucked from the streets of London during the early part of the 20^th century by erudite phoneticist Professor Henry Higgins in a seemingly uphill battle to turn her speech patterns around and ultimately make her pass as a lady as part of a bet with a colleague Colonel Pickering.  Their relationship takes on an interesting dynamic as the show proceeds, and whether or not Eliza and Higgins turn their love-hate relationship into love is ambiguous at best.  All this transpires with the clear division, values and conflicts between the upper and lower classes of London as the backdrop.

"At its core, the production stayed true to the original..."

With most musicals, if there are three or four songs that are memorable, that would be considered a success.  In My Fair Lady’s first-rate catalogue there are well over a dozen such songs, each distinct and blessed with wonderful melodies and clever lyrics.  The songs don’t just serve as filler or interruptions; they move the action forward and maintain an integral place in the story. Lerner’s lyrics are as good as it gets in musical theatre, and many leave a smile as the numbers are performed.

The iconic “I Could Have Danced All Night,” “The Rain in Spain,” “On the Street Where You Live,” and “Get Me to the Church on Time” are favorites for sure.  But even the others, such as “I’m an Ordinary Man,” “Wouldn’t It Be Loverly,” “You Did It,” and “Show Me” are also examples of tuneful numbers that always please.

Madeline Powell plays the part of the ornery Eliza Doolittle with sass and class.  Possessing a soaring soprano voice, Ms. Powell delivers excellent renditions of “Wouldn’t It Be Loverly,” “The Rain in Spain,” and “Show Me,” and she truly triumphs in the big number “I Could Have Danced All Night.”  Ms. Powell is outstanding as a vocalist, and her acting is spot on as Eliza with all the voice inflections, facial expressions and body language required by the part. Her character evolves from being a meek, angry street woman to a proud person who demands self-respect and kindness.

As the pompous, chauvinistic bully Professor Henry Higgins, Jonathan Grunert hit it out of the park aided by a superbly strong speaking voice—perfect for theatre.  His onstage chemistry with Ms. Powell is fantastic and essential for the production to be successful.

Jonathan Grunert, Madeline Powell and John Adkison

Solid all around and executing his songs with the appropriate amount of flair, Mr. Grunert, a younger version of previous Henry Higginses, is a man in perpetual motion in virtually every scene.  It’s not that he is dancing, but his precise high energy movements on the stage, especially during his vocal performances, are well choreographed and executed.

During the course of “I’m an Ordinary Man”,  however, I would have liked Mr. Grunert to emphasize the word “BUT” as was done in the original by Rex Harrison for a dramatic transition.  “BUT, let a woman in your life and your serenity is through…” It would have been a good touch to deliver it in that manner.

Another quibble is that in his zeal to demonstrate his utter exasperation with Eliza and reinforce his dominance over her, Mr. Grunert’s dialogue is occasionally rushed, rather than letting each word sink in. Regardless, he was well cast for the role.

Higgins’ sidekick is Colonel Pickering, also a phoneticist, who wagered that Higgins could not turn the disheveled Eliza into a lady to pass as such in London’s upper crust society.  He lost the bet but is pleased to see the results.

John Adkison ably plays Colonel Pickering authoritatively trying to rein in Higgins’ impatience and coldness towards Eliza.

In a comedic role, Eliza’s father, Alfred P. Doolittle, is an unmarried working-class boozer. Michael Hegarty plays the part to the hilt with a muscular voice and excellent dancing. He allows Higgins to house Eliza in exchange for five pounds and is always eager to find money.  “With a Little Bit of Luck” and the show-stopping, a little bawdy number “Get Me to the Church on Time” are his featured songs, and he along with the energetic ensemble under the choreography by Christopher Gattelli, perform these numbers exceptionally.

Nathan Haltiwanger plays Freddy Eynsford-Hill, Eliza’s suitor with whom she has little interest.  His one number, “On the Street Where You Live” (and reprise) was performed very well with a rich tenor voice and was an audience pleaser.

Notable performances are also turned in by Madeline Brennan as Higgins’ stern housekeeper, Mrs. Pearce, as well as Becky Saunders who plays the role of the socialite Mrs. Higgins, mother of Henry, who clearly has issues with her son.  The remainder of the cast and ensemble support the leads with great talent and energy.

There are numerous scene changes throughout the show, and Michael Yeargan’s set design is a combination of a fixed set, such as Higgins’ lavish study, and moveable set pieces. 

That study is the venue for many of the musical numbers features wood paneling, a ceiling high window, a couple of desks and chairs, and an ornate wooden spiral staircase. As noted earlier, the set was unable to move downstage in the first act necessitating some repairs.

The staging and hence the pacing of the production were hampered by large set pieces including three street lamps and other objects. Scene changes were not executed as fast as we’ve seen in other touring productions.

Nonetheless, the period costumes designed by Catherine Zuber are superb. They are manifested in the Ascot scene where the upper crust women wore lavish gowns and oversized feathered hats.

Despite sound snafus in the early part of the show, designers Marc Salzberg and Beth Lake did a fine job. In particular, the sound of horses racing during the Ascot event sweeping through the theater was effectively executed.

Overall, this version of My Fair Lady scores high marks for not only staying true to the classic work but also for enabling a talented, energetic cast to do justice to this magnificent musical. 

With a little bit of luck, with a little bit of luck, you should find the time to see this show.

Running time. Two hours and 55 minutes with an intermission.

My Fair Lady runs through January 15 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit Ticketmaster or the Hippodrome.

Photos: Jeremy Daniel

A First Class ‘Pygmalion’ on Display at Spotlighters

Phil Gallagher and Linae' C. Bullock

Gender and class are issues that permeate throughout much of today’s political discourse. Yet, in 1912 when famed controversial Irish playwright George Bernard Shaw penned arguably his most beloved work, Pygmalion, he saw the play as a vehicle to shed light on those very topics, which took aim at the mores of London society during the Edwardian era.

In a superb presentation at the Spotlighters Theatre, Shaw’s views through Pygmalion come to life with a potent drama laced with razor-sharp wit and humor.  Spotlighters veteran director Sherrionne Brown aided by Assistant Director Phil Gallagher who is also the Dialect Coach and for good measure plays a leading role, helms a sterling iteration of the play that is performed by a talented cast.

Pygmalion was the inspiration for the Broadway classic musical and Oscar-winning film My Fair Lady. The play, of course, does not contain the majestic score of Frederick Loewe or any score for that matter, but some of the dialogue is recognizable to those familiar with the musical in that it is incorporated in Alan Jay Lerner’s lyrics while the plot is very similar in both versions.

Named after a Greek mythological figure, Pygmalion fell in love with one of his sculptures which came to life. That is the symbolic journey in the play whereby Henry Higgins, a professor of phonetics takes in a poor London flower girl, Eliza Doolittle, with even poorer speaking skills and mannerisms.  She had initiated the contact so that she can learn to improve her speech in order to better sell flowers.

Linae' C. Bullock and Hillary Mazer

Through the resolute efforts of both he and his cohort, Colonel Pickering, a gentleman who also shares an interest in phonetics, they gave her new clothes and took on the challenge of improving Eliza’s speech and her mannerisms with the goal of transforming her into a duchess worthy of the company of high society. Pickering bet that if they can triumph, he would pay for all the expenses.

However, after this experiment was successfully completed, Higgins showed no further interest in Eliza and appeared ready to discard her without the slightest concern for her future. If Higgins had a soft spot, it was well hidden.  Eliza wondered wistfully what’s to become of herself.

But in the play’s denouement, Eliza finally stands up to the boorish professor and establishes her own independence—the more significant transformation in the story—and in the process, gained the respect of Higgins and perhaps winning his heart.

The aforementioned Phil Gallagher is sterling as Henry Higgins, the play’s Pygmalion.  Polished and accomplished, Mr. Gallagher dominates the stage with a powerful resonance that would make the late Rex Harrison applaud. Moreover, his facial expressions, body language, voice inflections and purposeful movements around the stage are on target in portraying this loutish character.  Mr. Gallagher is excellent in delivering the comical sarcasm and insults leveled at Eliza as well as demonstrating his exasperation and frustration.

Equally strong is Linae' C. Bullock who is first-rate as Eliza. She conveys the smart-mouth, shrieking “guttersnipe” as Higgins labeled her and demonstrates the ability to carry off the conversion to a potential duchess to a tee changing accents adroitly. Her passionate stance to declare her self-worth and independence near the play’s conclusion is a master stroke of acting on the part of Ms. Bullock.

Randy Dalmas does a fine job in playing the more reasonable and compassionate Colonel Pickering. Where Higgins berates and bullies Eliza, Pickering is more thoughtful and considerate to her and is the personification of a gentleman. He is the perfect foil to Higgins, and Mr. Dalmas pulls it off.

Phil Gallagher, Hillary Mazer and Randy Dalmas

As Higgins’ housekeeper Mrs. Pearce, Jennifer Grundy Hollett performs convincingly without going over the top. Seen mostly during the first half of the five-act play, the character at times consoles Eliza and on other occasions threatens her with delicious campiness. Not intimidated by her boss Higgins, Ms. Hollett’s Pearce demonstrates her independence and strength and chastises Higgins’ own foibles that include, among other things, his frequent and ill-timed swearing and sloppy table manners. It’s a fun-filled role and Ms. Hollett nails it.

Rich Espey plays the part of Eliza’s eccentric father Alfred Doolittle, a former dustman who eventually becomes wealthier. He’s a thinking man who “seems equally free from fear and conscience.” It is through this character that Shaw seems to convey much of his social criticism.  The complex role is played very well by Mr. Espey.

As Higgins’ upper class mother, Hillary Mazer plays the part with relish.  Stately Mrs. Higgins, very independent and a stalwart of London’s society, never bought into her son and Pickering’s experiment with Eliza and doesn’t have much respect for Henry.  Ms. Mazer’s acting skills allow this disdain to come through effectively.

Rounding out the talented cast are Melissa McGinley as Mrs. Eynsford-Hill, Carlo Olivi as Freddy Eynsford-Hill, Caelyn Sommerville as Clara Eynsford-Hill, and Don Lampasone and Sarah Weissman playing multiple roles.

The cozy in-the-round square-shaped stage at the Spotlighters is perfect for a play such as Pygmalion. The inherent intimacy of the environment allows the audience to be interested eavesdroppers to the conversation with the performers merely a few feet away.  Outstanding period costumes by Jenifer Grundy Hollett reflecting the garb of both the lower class and upper crust of Edwardian Londoners contribute mightily to the presentation. 

Sherrionne Brown’s set design provided sufficient furniture and accessories to augment the scenes without causing clutter on the stage and which allow the actors to move about freely. Brad Ranno’s lighting design also enhances the atmosphere while stage manager Lady Tatum oversees the multiple scene and act changes that occur fluidly and efficiently.

The Spotlighters’ production of Pygmalion is extremely well-performed and staged and is worthy of a Bravo! It should not be missed as this is community theatre at its best.

Running time. Two hours and 45 minutes with an intermission.

Pygmalion runs through March 10 at the Audrey Herman Spotlighters Theatre, 817 St. Paul St., Baltimore, MD 21202.  Tickets may be purchased by calling 410-752-225 or by visiting online. 

Photos: Spotlighters Theatre / Shaelyn Jae Photography

My Fair Lady Still a Classic at Olney

Todd Scofield (Colonel Pickering), Brittany Campbell (Eliza Doolittle), 

and Danny Bernardy 

(Henry Higgins) (Photo: Stan Barouh)

Full disclosure: My Fair Lady is my all-time favorite musical.  #hocoarts 

It was my first Broadway LP album, and I must have played it a hundred times loving each song like it was the best of the best. The musical presents an enjoyable storyline woven together by a lush score, lavish costumes and eye-pleasing sets.

It’s been wildly popular and successful Tony Award winning show for over 60 years played throughout the world in dozens of languages. The 1964 film version was a multiple Oscar winner and box office smash.  In short, My Fair Lady is a classic and has been appropriately dubbed my many as “the perfect musical.”

So you can understand my apprehension when early chatter suggested that a “new” My Fair Lady directed by Alan Souza would be mounted at the Olney Theatre Center. In fact, the program quotes Artistic Director Jason Loewith touting the Center’s “reputation for rigorous explorations of the classics.”  Butterflies started to creep in because I’ve seen in the past how some directors take classics on a dubious course in the name of creativity and frankly blow it. 

However, I am pleased—no ecstatic—to report that this iteration of My Fair Lady at Olney does not deviate at the core: all the extraordinary songs and characters are retained, and except for some tweaks around the edges including changing the setting to the 1920’s—10 years later than the original—simpler scenery, and the casting of younger male leads, this production, despite a few minor flaws, excels.  

I applaud the efforts of Mr. Souza for keeping the production true to its successful roots and showcasing the sterling talents of the superbly cast leads and terrific but relatively small ensemble.

The music by Frederick Lowe and the utterly outstanding lyrics by Alan Jay Lerner are the centerpiece of My Fair Lady.  The book by Mr. Lerner was based on George Bernard Shaw’s Pygmalion.  

The familiar story centers on a young Cockney flower girl, Eliza Doolittle, literally plucked from the streets of London by erudite phoneticist Professor Henry Higgins in an uphill battle to turn her speech patterns around and ultimately make her pass as a lady.  Their relationship takes on an interesting dynamic as the show proceeds.  All this transpires with the clear division, values and conflicts between the upper and lower classes of London as the backdrop.

With most musicals, if there are three or four songs that are memorable, that would be considered a success.  In My Fair Lady’s first-rate catalog there are well over a dozen such songs, each distinct and blessed with wonderful melodies and witty lyrics.  The songs don’t just serve as filler or interruptions; they move the action forward and maintain an integral place in the story.

The iconic “I Could Have Danced All Night,” “The Rain in Spain,” “On the Street Where You Live,” and “Get Me to the Church On Time” are favorites for sure.  But even the others, such as “I’m an Ordinary Man,” “Wouldn’t It Be Loverly,” “You Did It,” and “Show Me” are also examples of tuneful numbers that always please.

Mr. Lerner’s lyrics are as good as it gets in musical theatre.  They advance the story with wit and charm, and many leave a smile as the numbers are performed. 

In the Olney production, however, I found that several of the songs’ arrangements allowed for hurried performances by the vocalists. Because of that increased tempo, the marvelous lyrics contained in “Why Can’t the English?”, “I’m An Ordinary Man,”  “With a Little Bit of Luck,” and “Hymn to Him” for instance, the full potency of those lyrics is not as completely absorbed as they should be.  If anything, the lyrics should be drawn out a tad more so the audience feels the impact of their wit.

Brittany Campbell plays the part of the ornery Eliza with sass and class.  Possessing a soaring soprano voice, Ms. Campbell delivered excellent renditions of “Wouldn’t It Be Loverly,” “The Rain in Spain,” and “Show Me,” and she truly triumphs in the big number “I Could Have Danced All Night.”

One small quibble I have is with the song “Just You Wait,” a number where an exasperated Eliza is expressing her defiance towards Higgins, Ms. Campbell needs to be consistent with the dialect. It’s noticeable to those of us My Fair Lady enthusiasts.

Eliza hadn’t mastered the proper speech at this point so the Cockney version of “just you wait” should be pronounced “just you white” and the word “late” should be pronounced “light” throughout the song.  Hopefully, that will be fixed for future performances.

Other than that minor hiccup, Ms. Campbell is outstanding as a vocalist, and her acting is spot on as Eliza with all the voice inflections, facial expressions and body language required by the part.

As the pompous, chauvinistic bully Professor Henry Higgins, Danny Bernardy hit it out of the park aided by a superbly strong speaking voice—perfect for theatre.  His onstage chemistry with Ms. Campbell is fantastic and essential for the production to be successful.

Solid all around and executing his songs with the appropriate amount of flair, Mr. Bernardy is a man in perpetual motion in virtually every scene.  It’s not that he is dancing, but his precise high energy movements on the stage, especially during his vocal performances, are well choreographed and executed. 

Higgins’ sidekick is Colonel Pickering, also a phoneticist, who wagered that Higgins could not turn the disheveled Eliza into a lady to pass as such in London’s upper crust society.  He lost the bet but is pleased to see the results.

Todd Scofield ably plays the role of Pickering authoritatively trying to rein in Higgins’ impatience and coldness towards Eliza.

Eliza’s father, Alfred P. Doolittle, is an unmarried working class boozer. Chris Genebach plays the role to the hilt with a muscular voice and excellent dancing.  “With a Little Bit of Luck” and “Get Me to the Church On Time” are his featured songs, and he along with the energetic ensemble under the choreography by Grady McLeod Bowman, perform these numbers exceptionally.

Benjamin Lurye plays Freddy Eynsford-Hill, Eliza’s suitor with whom she has little interest.  His one number, “On the Street Where You Live” (and reprise) was performed very well and was an audience pleaser.

Notable performances were also turned in by Valerie Leonard as Higgins’ stern housekeeper, Mrs. Pearce,  as well as the socialite Mrs. Higgins, mother of Henry, who clearly has issues with her son.  The remainder of the cast and ensemble support the leads with great talent.

Christopher Youstra is the Music Director of this song-splashed show.  Andra Velis Simon competently conducted the 11-piece orchestra without drowning out the vocalists.

Sound Designer Matt Rowe deserves props for his simulation of galloping horses circling the theater’s interior during the race at the Ascot Racetrack.

Photo: Stan Barouh

Costume Designer Pei Lee does a good job of having the cast attired in period garb representative of the 1920’s.

Other than for the scenes in Higgins’ study where an impressively tall dropdown book case dominates the stage, James Fouchard designed a simple but functional set.  The moving of small set pieces around the stage during some of the numbers by the performers add texture to the visuals.

All in all the Olney’s version of My Fair Lady scores high marks for not only staying true to the classic work but also for enabling a talented, energetic cast to do justice to this magnificent musical. 

With a little bit of luck, with a little bit of luck, you should find the time to see this show.

Running time: Two hours and 40 minutes with an intermission.

My Fair Lady runs through July 23 at the Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832. Tickets may be purchased by calling 301-924-3400 or by visiting online.