My Fair Lady

I was warmly welcomed by the Front of House team and was immediately surprised by the miniscule but wide stage. It was later explained to me that this was erected prior to the production as the stage in the hall was not deemed fit for purpose. Nevertheless, seeing the large cast involved, I did wonder how they would all be accommodated.

With ease and imaginative use of every conceivable corner, as it turned out. The set, designed and constructed by Peter Cook, was innovative and minimal and made the best use of the limited area .Simple changes were carried out by cast members with the minimum of fuss. There were no entrances and exits directly on and off the stage. The set at the back of the stage was painted as the street scene, with two hinged doors opening to reveal Professor Higgin's study. Jan Tyne was Production Manager and co-ordinated everything really well. The lighting effects and sound were good and diction was clear meaning that the actors could be heard. The costumes, sourced by Jan Tyne and Mary Williamson, were colourful and in character. I must mention the Ascot dresses which were just stunning !

The choreographed dance routines by Sarah Harwood and Mary Williamson, were quite simple, given the logistics of the stage but were generally well carried out especially in “Get Me to the Church on Time”

Zoe Stephens, as Eliza, was both gentle and assertive at times and played this role really well. I especially enjoyed her renditions of “Wouldn't it be Lovely ”and “I could have Danced all Night “. She maintained both accents well ie cockney and posh, as appropriate. A sparkling performance. Her relationship with Henry Higgins, played by Martin Sparks came across well. Martin achieved an excellent blend of arrogant authority and a complete lack of understanding as to how others outside his social circle lived their lives. However, he displayed a vulnerability towards the end, particularly evident in his singing of “I've Grown Accustomed to her Face”. A great performance from Martin.

Malcolm Burren, as Colonel Pickering, struck just the right tone with his portrayal of a rather bumbling, confused, but caring character. Ian Gray, as Alfred Doolittle, Eliza's father, was a great, bigger than life character, acting out his cockney roots exceptionally well but unexpectedly elevated to the middle classes. The audience loved his two cockney songs which he sang so enthusiastically. He was ably supported by John Forrest, as Jamie and Mike Hare, as Harry both of whom had incredibly good singing voices.

Des Newell, playing the besotted Freddie, desperately trying to woo Eliza, sang “On the Street where You Live” with great feeling and emotion and gained the sympathy of the audience. Mary Williamson, as Mrs Higgins, Henry's mother, was majestic in this role, looking benignly on Henry as he fell captive to Eliza's charms. Her authority over proceedings was well demonstrated at Ascot. Lesley Duncan, as Mrs Pearce the housekeeper, befriended Eliza and interpreted this role very well.

All the songs, both chorus and solo were performed to a very high standard, under the skilful direction of Hilary Brunning. A very special mention of the pianist, Joe Richardson, who played the entire score in a very accomplished way—and appeared to thoroughly enjoy his pivotal role in full view of the audience. Well done !

I had the chance to meet David Wiggins, the Director, along with Mary Williamson at the end of the performance. I congratulated David on this excellent and imaginative production, by a very committed and talented cast appreciated by the near capacity audience.

Many congratulations to everyone involved in any way. It was a most enjoyable evening.

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