"It's GLORIOUS... YOU'LL WANT TO DANCE ALL NIGHT"
The Daily Mail, 2001
"ONE OF THE GREATEST MUSICALS EVER WRITTEN"
The Daily Mail, 2001
"IT'S STILL A DREAM MUSICAL -
WITH MORE THAN A TOUCH OF MAGIC ABOUT IT"
Evening Standard, 2001
"THIS FAIR LADY IS A MASTERPIECE"
Evening Standard, 2001
"THE WORLD'S GREATEST SHOW"
BBC, 2001
"THE PERFECT SHOW"
BBC, 2001
"I COULD HAVE DANCED, DANCED ALL NIGHT AND STILL BEGGED FOR MORE: THIS IS A HUGE HANDSOME HIT"
The Mail on Sunday, 2001
"ONE OF THE GREATEST MUSICALS OF ALL TIME"
Sunday Express, 2001
"THIS IS STILL ONE OF THE GREAT MUSICALS,
DAZZLING, SOPHISTICATED, FUNNY"
The Sunday Times, 2001
"ANTHONY WARD'S DESIGN IS BREATHTAKING"
The Daily Mail, 2002
"A GREAT EVENING"
The Daily Mail, 2002
"PROBABLY THE GREATEST MUSICAL OF ALL TIME"
The Daily Telegraph, 2002
"MY FAIR LADY IS JUST LOVERLY"
The Daily Telegraph, 2002
"THIS TERIFFIC SHOW"
Daily Express, 2002
"THE SONGS ARE UNSTOPPABLE"
Daily Express, 2002
"LERNER AND LOEWE'S DELICIOUSLY CRISP, WITTY, LIBERATE CREATION"
Daily Express, 2002
"UNMISSABLE FOR ALL MUSICAL LOVERS"
Daily Express, 2002
"THE LAVISH REVIVAL OF LERNER AND LOEWE'S MUSICAL MASTERPIECE"
Time Out, 2002
"ABSO-BLOOMING-LUTELY LUVVERLY"
Financial Times, 2003
"FOR THOSE SEEKING MUSICAL THEATRE AT THE
VERY SUMMIT OF ITS ACHIEVEMENT... MY FAIR LADY UNDOUBTEDLY REMAINS THE TOP RECOMMENDATION IN TOWN"
The Daily Telegraph, 2003
"BLOOMIN' MARVELLOUS"
What's On, 2003
"‘My Fair Lady’ Deserves Spot On Broadway
By Kathy L. Greenberg, Tampa Tribune September 14, 2007
TAMPA - If coworkers and friends are belting out songs lately from “My Fair Lady,” forgive them. It’s probably because they’ve just seen the superb production at the Tampa Bay Performing Arts Center.
The show is based on the 2001 Cameron Mackintosh/National Theatre of Great Britain production and began its run in London last year to mark the Lerner and Loewe musical’s 50th anniversary. The North American tour kicked off in Tampa on Wednesday and closes Saturday night.
It’s hard to limit the adjectives to describe the show’s quality, but if any revival deserves a spot on Broadway, it’s this one.
Christopher Cazenove is marvelous as the misogynistic Professor Henry Higgins. Some may recall his roles as Ben Carrington on “Dynasty” or the two-faced almost-stepfather in the film “3 Men and a Little Lady.” No doubt he will now forever be associated with his most recent live performance. Cazenove is dynamic and commanding on stage. His enthusiasm for the plum part is clear, from every drop of disdain Higgins ladles on women to his passionate outpourings for the English language.
Lisa O’Hare’s Eliza Doolittle matches Cazenove’s energy pound for pound, as she skims across the stage with lively elegance from beginning to end. The British actress embodies the scrappy-flower-girl-turned-lady. It is as easy seeing her work the streets like a good girl as it is watching her root for Dover at Ascot Racecourse. Her voice is clear and emotive, especially when singing “Wouldn’t It Be Loverly?”
The supporting cast is equally wonderful, especially Justin Bohon as Freddy Eynsford-Hill and Tim Jerome as Eliza’s father, Alfred P. Doolittle. Bohon is charming as the smitten young suitor, but it’s his performance of “On the Street Where You Live” that delivers the chills and thrills. He hits the final notes with tremendous force and vitality.
Meanwhile, Tim Jerome leaves the audience in stitches one scene after the other. He is delightful as the alcoholic papa. It would not be out of line to squeeze the actor backstage like the oversaturated sponge that he plays (yes, he’s that adorable).
Jerome leads the “With a Little Bit of Luck” number that practically levels the house. There’s stomping and drumming and raucous mayhem that gets the whole place jumping.
Matthew Bourne’s choreography raises the bar for future musicals. His work is perfect company to Anthony Ward’s costume and set design.
During the “Ascot Gavotte” scene, following the death of King Edward VII, the spectators move in dark, regal silhouettes against a bright-blue backdrop. They strut like thoroughbreds, haughty and stiff as the corsets the women wear beneath their spectacular mourning attire. When Eliza makes her debut in a stunning royal purple gown, she also dons an enormous disk-shaped hat that hides half her head. These are brilliant design choices that symbolize her character’s duality and discomfort at pretending to be someone she’s not.
The long-anticipated gown Eliza wears for the Embassy Ball elicits oohs and aahs from the audience. Descending the spiral staircase in Higgins’ study, she is reborn in a cascade of diamonds and white.
My Fair Lady” is a classic for a reason, but this production, directed by Trevor Nunn, reinvigorates the show’s importance in musical theater, both in North America and abroad.
Kathy L. Greenberg of Tampa is a freelance writer.
"
Tampa Tribune