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Wouldn't it be loverly to have a theatrical treat this festive season? The Leicester Curve is offering just that with its revival of the timeless favourite, My Fair Lady. Eliza Doolittle's vocal voyage is a story that transcends generations, and this version of Lerner and Loewe's classic production continues to transport audiences back to the streets of early 20th-century London where the hustle and bustle brings together those from all walks of life.
As the leading lady in question, Molly Lynch radiates a stubborn yet endearing spirit that captivates all in her presence. Particularly raising the interest of phonetic Professor Henry Higgins (played by David Seadon-Young), Eliza's seemingly uncouth manner became something of both deep disgust and intrigue. Drawing together a bet between Higgins and fellow linguist, Colonel Pickering (Minal Patel), this combined with a desire to learn to sound more like a flower shop owner rather than cockney street seller the girl is subjected to speech lessons with unfathomable intensity.
Having been at the London Coliseum in recent years, a shift to a regional stage predicted a downplaying of the grand set design, though Michael Taylor has conducted a stellar recreation when transforming the given space. Its effects remain largely unscathed despite the smaller scale, with the staircases offering those levels across Nikolai Foster's direction, and intricate details command the narrative to life. Previously clocking in at over 3 hours of running time including interval, this adaptation has been rendered with more precision as an increased conciseness and shorter length makes it a more palatable to enjoy; with nothing seeming incomplete either. Stunning costume choices (also by Michael Taylor) adorn the company at every opportunity too, solidifying the whole package.
As a traditional piece, the themes and their reflection on contemporary society offer a stark relevance that still rings true. The following line in particular - 'the difference between a lady and a flower girl is not how she behaves but how she is treated' - stands out as one that encapsulates the views fuelled by stereotypes for both class and gender status. Eliza's character refuses to be subdued, using her experiences with Henry to shape her outlook on society and herself in a way that provides a rich complexity to explore, and relatability when faced with dilemmas of a woman's expectations that still require conscious unravelling today. Molly's portronayal embodies this through the vast emotional turbulence that emerges when seeking an identity: a sterling choice for the role.
Steve Furst presents an amusing man in drunkard Alfred P. Doolittle, Eliza's absent father, where his philosophical roots appear funny, though there is a clear tinge of uncertainty with determining what he wants from familial relations. Heading two of the most well-renowned hits from the musical, the footstomping 'With a Little Bit of Luck' and upbeat 'Get Me to the Church on Time' leave lasting impressions, particularly given their joyous tunes paired with engaging chorerography by Joanna Goodwin. Through softer tones, 'Wouldn't It Be Loverly?' and 'The Rain in Spain' show vocal prowess in singing ability and transfer of very contrasting accents that sound so natural.
Additional notable characters include Mrs Pearce and Mrs Higgins (played by Sarah Moyle and Cathy Tyson respectively) who provide bouts of energy that assist in building Eliza's strong character. Freddy Eynsford-Hill (Djavan Van De Fliert) has a few big solo moments that enhance his position as the love interest, but - without spoliers for those unfamiliar - an ambiguous ending leaves itself open to interpretation.
In all, the Curve's Christmas run of My Fair Lady is an ideal demonstration that some of the best theatre doesn't always have to come from the West End. If you can brave the storms to get there, a wonderful escape is imminent with this one.
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