My Fair Lady

Lerner and Loewe’s My Fair Lady, based on George Bernard Shaw’s play Pygmalion, is one of those perennial favourites that is always a pleasure to see again, like receiving a warm hug from a long-lost friend. Fareham Musical Society’s latest production of the show was just that – warm and comforting, and a pleasure to see again.

The excellent cloths and set (Scenery Solutions) made the most of Fareham Live’s flying facilities and meant that, with the swift assistance of cast members, scene changes were achieved rapidly and unobtrusively, keeping this notoriously long show moving at a great pace. Costumes (Claire Plumridge) all looked the part throughout, conjuring up the right period atmosphere – except perhaps Higgins’ tweed suit which seemed rather modern to my eye. The monochrome Ascot scene, however, was absolutely stunning. Ian Pratt’s lighting design was perfect, and the sound (Fareham Live) was mostly well balanced and clear, apart from a few pops and crackles from the mics.

Backing tracks can be very good, but it was a real pleasure to hear a good-sized live orchestra for once. Under MD Ben Lister’s baton, they produced the perfect sound and never overwhelmed the singers.

It wasn’t until I was leaving the theatre that I realised that an iconic number had been cut from the show: “Why can’t a woman be more like a man”. It must have been a difficult decision to make, but the show worked well enough without it, with the benefit of an earlier finish!

Director Ben Lister has picked an excellent cast. We are always in safe hands with Jonathan Redwood, and his Higgins commanded the stage, moody and irascible and completely oblivious to Eliza’s feelings. He made Higgins’ complex dialogue and songs appear a complete doddle. Roger Trencher was a good counterpoint as  Pickering, always countering Higgins’ rants with calm, gentlemanly kindness. Molly Sharland was spot-on as Eliza, plucky and courageous, determined to better herself, but would not be trampled over. Her cockney accent and the transformation were perfect. I adored the way she told the tale of her sick grandmother! Although the script leaves Higgins’ and Eliza’s relationship unresolved, in the last poignant scene, the actors made it clear they were destined for each other.

Tristan Redwood made Freddy Eynsford-Hill very believable – so in love with Eliza despite her constant rejections – and gave us a lovely rendition of “On the street where you live”. Jonny White portrayed Alfred Doolittle nicely, with lots of cockney swagger and a good accent. He was well supported by Luke Davis and Brian Sweatman as his sidekicks Harry and Jamie. Gareth Billington-Ryan made Zoltan Karpathy a wonderfully flamboyant character, while Hannah Barnard, Jo Smart and Jen Sharland leant sterling support as Mrs Higgins, Mrs Pearce and Mrs Eynsford-Hill.

The standard of singing throughout by principals and chorus was excellent, as was the interpretation of Ali Bushnell’s choreography – again the Ascot Gavotte scene really stood out with its precision and style.

While the emerging new shows can be challenging to perform and exciting for the audience, it’s lovely to welcome back an old favourite, with familiar songs and rich sets and costumes. FMS you did yourselves proud with this warm and vibrant production, that had me happily humming the tunes all the way home.

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