My Fair Lady
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Cititour.com Review
One of my immediate thoughts upon leaving Lincoln Center’s Vivian Beaumont Theatre last spring, after seeing Bartlett Sher’s splendid revival of the 1956 musical “My Fair Lady,” was that great things come to those who wait. But now, I must amend that statement: Really great things come to those who wait. For by changing some of the show’s principal cast members, Alan Jay Lerner and Fredrick Loewe’s gorgeous, clever adaptation of Shaw’s classic “Pygmalion” is even more delightful than before.
Nothing about the show’s story has essentially changed in the intervening months – or past 60 years – as it examines the decidedly off-beat relationship between the irascible phonetics professor Henry Higgins (Harry Hadden-Patton) and Eliza Doolittle (Laura Benanti), the cockney flower girl who chooses to undergo his rigorous, sometimes tortuous lessons in order to better her lot in life.
And, yes, the story’s premise may still make some viewers uncomfortable, especially in the #metoo age (the pair’s relationship can feel abusive), and Sher’s decision to change the original ending (also a possible nod to the #metoo movement) remains somewhere between baffling and unnecessary. But given how much glorious acting and singing is on the stage, these are no more than minor quibbles.
Benanti has long said Eliza is the role she has always wanted to play, and she takes this long-awaited opportunity by the horns. Her step-by-step transition from outwardly fiery yet inwardly timid flower girl to truly independent woman is stunningly detailed. Moreover, she knows, seemingly instinctively, when to emphasize the more comic aspects of the role, yet she is extraordinarily effective (and affecting) in the show’s latter, more dramatic sections.
Unsurprisingly, Benanti’s singing and lyrical interpretation are continuously wonderful, whether on the vengeful “Just You Wait,” the scalding “Without You” or the defiant “Show Me.” And naturally, when she hits the so-called “money note” at the end of “I Could Have Danced All Night,” the audience literally erupts with joy.
She also plays beautifully opposite the production’s original Higgins, Henry Hadden-Patton, and I wish the Tony Award committee would consider letting him be re-nominated this year. This superb actor has created a Higgins somewhat in the mold of the unforgettable Rex Harrison (although he’s a much stronger singer): a man who staunchly makes no apologies for his behavior and who is obviously so committed to his craft that other’s people feelings simply don’t enter into his equation. But what comes through more clearly than before is how out of touch Higgins is with his own feelings; he’s the poster child for repression. And when forced to finally confront his feelings for Eliza (which are, I believe, only quasi-romantic) his Higgins implodes and explodes simultaneously. It’s a remarkable piece of work
As great as Benanti is, it’s two added cast members who really re-balance the show. As Eliza’s hard-drinking, fun-loving father, Alfred, the ever-invaluable Danny Burstein twinkles brighter than the Northern Star, and his luminescence feels entirely natural. Moreover, Burstein barely seems to break a sweat during the extended version of his second-act showstopper “Get Me to the Church on Time” (in which choreographer Christopher Gattelli really shows off what he can do, and which remains the show’s most crowd-pleasing number), whereas I was afraid his predecessor, Norbert Leo Butz, might expire at any moment.
And while the legendary Rosemary Harris is less imperious than the extraordinary Diana Rigg in the relatively small role of Henry’s perpetually exasperated mother, she brings a much-need warmth to the role that Rigg didn’t. Nor does it feel quite as much like a “star turn” as before, which is as it should be.
Meanwhile, the remainder of supporting cast is now split between newcomers to the show and veterans: the former category includes Christian Dante White, in strong voice. as Eliza’s ne’er do well suitor Freddy Eynsford-Hill and Clarke Thorell, who is properly unctuous as Higgins’ ex-student Zoltan Karpathy, while the latter includes the delicious Allan Corduner as the gentlemanly if sometimes clueless Colonel Pickering and the wonderful Linda Mugleston as the starchy hard-working housekeeper Mrs. Pearce.
The actors aside, one must give credit here to the creative team (all frequent collaborators of Sher), notably music director Ted Sperling, helming a gorgeous sounding 29-piece orchestra, scenic designer Michael Yeargan, who cleverly alternates minimal yet effective sets with a stunning recreation of Higgins’ home (on an often-revolving turntable), and costume designer Catherine Zuber, whose work is both beautiful and beautifully specific.
Last year, I said I think I could I grow accustomed to seeing this “My Fair Lady” on a weekly basis. Now, I could make it part of my daily regimen.
By Brian Scott Lipton
Visit the Site
http://www.myfairladybway.com
Cast
Laura Benanti, Harry Hadden-Paton, Danny Burstein, Rosemary Harris, Allan Corduner, Christian Dante White, Linda Mugleston, and Clarke Thorell, with Cameron Adams, Shereen Ahmed, Mark Aldrich, Kerstin Anderson, Becca Ayers, Barbara Jo Bednarczuk, Heather Botts, Rebecca Eichenberger, SuEllen Estey, Christopher Faison, Steven Trumon Gray, Adam Grupper, Michael Halling, Joe Hart, Sasha Hutchings, Mary Claire King, Michael X. Martin, Justin Lee Miller, Rommel Pierre O’Choa, Keven Quillon, JoAnna Rhinehart, Lance Roberts, Blair Ross, Brian Shepard, Samantha Sturm, Matt Wall, Michael Williams, Minami Yusui, and Lee Zarrett.
Open/Close Dates
Opening 4/19/2018
Closing 7/7/2019
Preview Open/ Preview Close Dates
Preview Opening 3/15/2018
Closing Open-ended
Box Office
212-239-6200
Theatre Info
Vivian Beaumont Theater
150 West 65th Street
New York, NY 10023
Map
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