My Fair Lady

A Covid outbreak in Oxford Operatic Society meant this production ran with a depleted company and a changing cast of understudies and stand-ins, and the fact that the Society was able to stage a show of such quality under these circumstances was truly remarkable.

“My Fair Lady” is amongst the most loved of stage musicals, and for good reason: it’s a cracking tale packed with memorable characters and classic songs.  But it is what it is, anchored in time and space by Rex Harrison and Audrey Hepburn.  The misogyny and mansplaining are priced in.  A radical reinterpretation is about as likely to succeed as Dover in the big race at Ascot.

The director understands all of this, but also tries to shine a fresh light on the key players and their motivations.  The moment the curtain goes up we are transported back to Edwardian London, an economy apparently sustained wholly through the selling of flowers and the sweeping of chimneys, and a society stratified into classes by speech and appearance.

It’s a long show which makes huge demands on the principal actors.  They were more than up to the challenge.  There was also plenty to admire in the chorus work: the local colour provided in Covent Garden, the high society guests at the ball, and of course the crowd at Ascot.

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