The Leicester Curve’s production of My Fair Lady, directed by Nikolai Foster, is a visually stunning and emotionally engaging rendition of Lerner and Loewe’s beloved musical. With its memorable score, sharp wit, and a deeply talented cast, the production offers much to enjoy, even as it wrestles with uneven pacing and unresolved thematic tensions.
Michael Taylor’s exceptional set and costume design is one of the show’s crowning achievements. Covent Garden is rendered with an expansive, almost cinematic feel, bursting with life and vibrancy. The use of intricate detailing in Professor Higgins’ study is equally compelling, showcasing a world that feels lived-in and intellectually chaotic. From shelves laden with books to peculiar scientific instruments, the set becomes a visual feast that reflects Higgins’ obsessive personality.
Taylor’s costume design is another triumph, with the race day sequence standing out as a dazzling display of period-appropriate extravagance. The elaborate gowns, adorned with delicate details, epitomise Edwardian opulence, while the contrast between the rich, muted tones of the aristocracy and the earthy, worn fabrics of Eliza’s working-class wardrobe underscores the class divide at the heart of the story. Mark Henderson’s lighting complements these elements beautifully, skillfully shifting between warm, naturalistic tones that gorgeously shine the the arches of Covent Garden and cooler, more formal palettes in Higgins’ world.
The cast, led by Molly Lynch as Eliza Doolittle, delivers performances that are both heartfelt and dynamic. Lynch’s portrayal is nothing short of transformative. Her Eliza begins as fiery and determined, with a rawness that feels entirely authentic. As she evolves into a refined version of herself, Lynch adds layers of vulnerability and self-awareness, making the transformation feel both physical and emotional. Her singing is equally impressive, particularly in moments like I Could Have Danced All Night, where her joy and newfound confidence are palpable.
David Seadon-Young’s Henry Higgins is a fascinating study in contradictions. Seadon-Young fully leans into Higgins’ arrogance and unapologetic misogyny, creating a character that is often difficult to like. Yet, his performance gains depth in Act Two, as Higgins grapples with his own emotional awakening. This nuanced approach allows the audience to see Higgins’ vulnerabilities without excusing his behaviour.
Steve Furst as Alfred P. Doolittle steals the spotlight in his scenes, delivering a masterclass in comedic timing. His rollicking rendition of With a Little Bit of Luck is a joy to watch, and his musings on morality bring a clever satirical edge to the production. The ensemble, under the vibrant choreography of Joanna Goodwin, injects energy and vitality into group numbers. The choreography is dynamic and inventive, particularly in scenes like Get Me to the Church on Time, which brims with exuberance. However, the ensemble does not always utilised to its full potential, leaving some scenes feeling visually static in comparison.
While the production excels in its visual and performance elements, the pacing and narrative structure present challenges. Act One is rich with plot and iconic musical numbers, setting up the characters and central conflict with precision. In contrast, Act Two feels rushed, with key relationships and themes left underexplored. The resolution of Higgins and Eliza’s dynamic, in particular, lacks the emotional payoff it deserves. The ending feels abrupt, failing to fully reconcile the tension between Eliza’s newfound independence and Higgins’ lack of accountability for his behavior.
The direction highlights Higgins’ misogyny, making it impossible to ignore his condescending treatment of Eliza. However, the lack of consequences for his actions seems to vindicate his outdated views rather than challenge them. This decision diminishes the narrative’s potential impact, leaving audiences to grapple with an ending that feels more regressive than progressive.
Despite its imperfections, the Leicester Curve’s My Fair Lady is a thoroughly enjoyable production that captures much of the charm and wit of the original. Its outstanding design elements, vibrant choreography, and standout performances make it a feast for the senses, even as its thematic and structural issues prevent it from reaching its full potential. This revival breathes new life into a classic while leaving room for deeper exploration of its characters and ideas. For all its unevenness, it remains a triumphant celebration of the music, humour, and humanity that has made My Fair Lady a timeless favourite.
The production runs at Curve until Saturday January 4, 2025.
Photography throughout from Marc Brenner.
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