My Fair Lady

The 1964 film adaptation of My Fair Lady is considered the classic version of this celebrated musical. Featuring memorable songs and a script inspired by George Bernard Shaw’s Pygmalion. It would not be fair to compare one show with another, however this production truly distinguished itself from many others I’ve seen. Its flawless and innovative choreography by Jennifer Pratt, was absolutely superb—arguably the best I’ve ever witnessed in an amateur show. Bravo!

The production holds its status as a renowned classic in theatre, due to its blend of memorable songs, wit, romantic elements, and insightful social commentary. In the narrative, Professor Higgins wagers that he can instruct Eliza, a flower vendor, to speak with the eloquence of a duchess. My Fair Lady adapts Pygmalion, omitting some speeches and adding songs. 'Wouldn’t It Be Loverly?' shares dreams of comfort, 'I Could Have Danced All Night' reveals romance, and 'Ascot Opening Day' portrays the upper class. The scene features the expected, striking period costumes in black and white, and did not disappoint.

Ben Munday was well suited to play the characterful Higgins, irritably asking questions such as ‘Why Can’t the English Teach Their Children How To Speak? and ‘Why Can’t a Woman Be More Like a Man?’ to his toff friend Pickering, played well by David Walters.

We meet Eliza’s dad, philosophical dustman Alfred Doolittle. I really enjoyed his redoubtable stage presence and characterisation that Matthew Everitt bought to the role. He has a wonderful tone to his singing voice, ultimately, doing justice to the cheery working-class anthems ‘With a Little Bit of Luck’ and ‘I’m Getting Married in the Morning’.

Ricardo Alexander played Freddy Eynsford-Hill with charm, delivering a memorable 'On the Street Where You Live.' Kim Arnold gave a confident performance as authoritative housekeeper Mrs Pearce.

Lastly, but by no means least, Ella Kenrick played Eliza, skilfully transitioning from flower girl to social butterfly and adding fresh depth to key scenes. Her accent, and more important with extensive dialogue, clear diction through the awful screeching, yet I could still understand every word.

The ensemble offered excellent support from start to finish. I was eager to discover what the choreographer had in store for every group scene. Each of you delivered an outstanding performance without exception.

The orchestra, led by James Suckling, maintained a well-balanced sound at all times and avoided overpowering other elements, which can occasionally occur.

The extensive production team demonstrated exceptional effort, ensuring effective scenery and seamless transitions. Wardrobe and wigs were thoughtfully designed to reflect the period. As previously mentioned, the traditional Ascot costumes were particularly notable and contributed to the authenticity of the performance.   Congratulations to all concerned, you should be very proud of this excellent production.

Joyce Eyre – Regional Representative District 6

Over the last few years, I have been pleased to attend the annual musical production performed by Leamington & Warwick Musical Society. There is always a warm welcome at the venue from the front-of-house team, as well as from their President and other committee members.

When My Fair Lady was first written, audiences expected productions to be considerably longer than most modern musicals. However, despite its length, this production by Leamington & Warwick Musical Society held my attention throughout. The quality of the performance ensured that it never felt as long.

I can only echo the comments made by Joyce regarding the characters, all of whom rose to the demands of the roles they portrayed. Some shows have an iconic moment, and this is certainly the case during the Ascot Gavotte, particularly with the much-anticipated line concerning the racehorse Dover. The moment was delivered to great effect and was by no means lost on the audience.

The choreography was particularly well executed and clearly reflected the considerable time invested in rehearsal. As the ensemble proclaims at the opening of Act II, “You did it,” I can only add my own “Congratulations” and “Well done” to everyone involved.

In my diary I have LWMS next production – Sister Act in April 2027.

Andy Brown, Regional Councillor NODA West Midlands.

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