Pygmalion

This was a real return to form for Peterborough Mask Theatre in a truly inspired reimagining of George Bernard Shaw’s ‘Pygmalion’ at the Key Theatre studio. Moving the setting to the Second World War was something about which I was dubious but it worked wonderfully well from the programmes in the style of ration books to the Vera Lynn music on entry into the auditorium and the ensemble at café tables before the opening scene began.
Lerner and Loewe’s iconic ‘My Fair Lady’ has meant that Shaw’s play has been regarded differently since 1957 with familiar lines and songs clearly not present in the play and the set pieces such as the Ascot and the ball omitted or played offstage, but the non-musical version has other highlights to offer as well as dialogue which is exactly the same: ‘The girl may have some feelings.’ ‘Oh no, I don’t think so.’ The musical is better on the process from flower girl to lady and the play is better on a range of characters including Mrs. Pearce and Freddy and the discovery of both Eliza and Higgins’ emotional landscape as well as the class issues of both the original era of the piece and the 1940s’ repositioning.
The composite set was excellent and made very effective use of the studio space. Apart from wishing that Mrs. Higgins’ house had been more distinctive compared with Professor Higgins’ abode, I thought that the use of the stage was brilliantly conceived and a real ‘actors’ space’ with some delightfully appropriate props. All credit to the set construction team of John Crisp and Jill Ward, to Richard Mayes for props and to Nicola Orchard for a very effective lighting design overseen by Production Manager Joanna Scott and Stage Manager Dave Slinger.
However, the main plaudits for the artistic vision and the execution of it should go to first time director, Di Fox. Apart from a terrific concept, Di moved her actors in a totally realistic way which brought out the best in them and both heightened the tensions between Higgins and Eliza and broadened but did not coarsen the comedic elements. Definitely an actors’ director with a fine eye for sight lines and detail, Di worked the studio space which has defeated more experienced directors to perfection: with pace and the courage to use the pause at crucial moments. Very impressive indeed and I, for one, will be looking for more plays directed by Mrs. Fox!
The actors were, in the main, exemplary. Carl Perkins was a superb Higgins: annoying us and pleasing us in equal measure. His received pronunciation, throwaway lines, mastery of comic timing and the Higgins’ ‘look’ were of the highest order whilst his argument scenes with Eliza were also first rate. Luke Day as Colonel Pickering gave us an acting class in how ‘less is more’ with fabulously louche underplaying and an air of incomprehension underpinned with regimental bearing and class. Matthew Robertson as a clueless Freddy Eynesford Hill mesmerized by Eliza was ‘spot on’ with Sara Hogg and Tara Lapore as the other Eynesford Hills providing effective foils especially as the ‘listeners’ in the Eliza meet and greet scene.
Terry Toyne made the most of one of the great character parts of modern theatre: that of Alfred Doolittle, giving it a subtext and an emotional depth often missing from the musical version. I did miss the iconic dustman’s leather hat but was rewarded with some terrific comic delivery. Catherine Myland’s Mrs. Pearce was played with wonderful warmth whilst portraying loyalty to employer and empathy with Eliza easily and truthfully. Jan Wright gave us a delightfully world weary interpretation of Mrs. Higgins but was not, I thought, helped by the costume ,hair or received pronunciation not mirroring that of her son Henry to produce the class difference with Eliza . Mrs. Higgins is an upright, regal ‘twin set and pearls gal’ whichever era she inhabits to my mind.
Becky Owen Fisher as Eliza carried the evening. Probably stronger in the transformed Eliza second half than in the underclass of the first ( the facial distortion was overworked and the clutching of diaphragm unnecessary), Becky provided us with an Eliza we identified with and cared about. Her scene with her new voice wrapped around the old stories was brilliantly performed, but best of all was her indignation with Higgins in the latter part of the play. To change your bearing, posture, voice and emphasis whilst remaining natural and truthful is no mean feat but Becky achieved this effortlessly. A star performance.
Excellent support was provided by the bystanders and by Kristin Smith as the parlour maid.
My constructive criticism would be reserved ,firstly, for some aspects of costume which didn’t work: Eliza was less like a flower girl and more like a homeless bag lady initially, for example whilst the ‘ball gown’ and accessories needed to be even more stunning and the make-up and hair even more forties-like. Similarly, Pickering was in need of a regimental tie. My second constructive point would be about ‘light and shade’ Whilst appreciating being able to hear every word, the range of vocal timbre became too similar for all characters as the play progressed, something to watch particularly in scenes of high tension where quietly delivered lines can be as powerful as shouted ones.
These were small points in a highly enjoyable and adept production of a great work of art. A near capacity audience on the Friday night really appreciated this play.
Many congratulations to cast, crew and director for a terrific interpretation of an old favourite. Mask Theatre proved themselves to be on their best form which is very good form indeed.

© NODA CIO. All rights reserved.