My Fair Lady

My Fair Lady tells the beloved tale of Eliza Doolittle, a cockney flower girl, who meets linguistics professor Henry Higgins and is transformed into an elegant young lady.

As their festive production, The Curve brought the tale to life with energy and charm. Joanna Goodwin’s choreography was vibrant and innovative, and lit up the stage. The ensemble cast worked seamlessly together, especially in the pub scenes where the energy was so infectious, it made me want to get up and join in.

Molly Lynch was a vision as Eliza Doolittle, delivering a captivating performance that perfectly embodied Eliza’s emotional and physical journey. Her stunning voice and acting abilities helped her balance the proud and confident cockney girl with the elegant lady she would later become.

Opposite her was David Seadon-Young as the eccentric and arrogant Henry Higgins. His comedic timing was brilliant, and made watching his unravelling into a demented and lovesick professor in act 2 even more of a sight to behold.

Minal Patel delivered a steady and grounded Colonel Pickering. His level-headedness was the perfect counter to Higgins’ manic energy. However, the dynamic and acting choices between the two occasionally ventured into ambiguous territory, lingering a little too long on moments that hinted a different kind of chemistry.

Sarah Moyle commanded the stage as a fierce Mrs Pearce – I definitely wouldn’t want to be on the wrong side of her!

But it was Steve Furst as Alfred P Doolittle who stole the show. His performance was a masterclass in juggling both comedy and emotional depth. ‘Get Me to the Church on Time’ was a particular highlight, and we were dancing in our seats the whole time!

All that being said, the production did have its challenges. Both acts began with startlingly low notes that felt like jump scares. The costuming was a mixed bag with some great successes and other near misses. I very much appreciated Colonel Pickering’s traditional Indian dress, though Mrs Pearce’s green jumpsuit felt more Genie than housekeeper. Eliza’s embassy ballgown was another disappointment. While stunning in Higgins’ home, it lacked the grandeur needed to stand out against the other characters at the ball itself.

I appreciated director Nikolai Foster’s aim to use the theatre’s space, but having characters run through the audience after scenes created distractions that took away from what was actually going on. Having three characters try and race through the entire first row without any warning in a mere few bars was also an interesting choice, and a shock to the audience sitting there I feel. The creaky on-stage door also created distractions (some WD40 wouldn’t go amiss!), and allowed a significant amount of side of stage noise to be heard in act 2, although that may just have an impact based on where you sit.

The use of children in the cast also felt misunderstood. While offering young performers a valuable experience, they could have been utilised in more powerful ways, instead of feeling like space fillers.

The technical issues and some choices not translating, combined with several line fulfils and stumbles made the production feel unpolished and slightly rushed. That being said, My Fair Lady definitely has a lot to offer. With the Doolittle powerhouses and excellent choreography, it certainly brings a fresh air to a timeless classic.

This show was reviewed on the 28th November 2024 at the Curve Theatre, Leicester where it runs until the 4th January 2025.  Tickets available here: My Fair Lady – Curve Theatre, Leicester

*** stars

Jasmine Richards

Join Jasmine every Saturday at 6pm with ‘The Sound of Musicals’ here on Box Office Radio

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Photo credit: Marc Brenner