After facing postponement from April 2020, Showbiz Christchurch’s production of My Fair Lady was worth the wait.

Opening night and the Isaac Theatre Royal is buzzing; it’s a suitably grand venue to host the Lerner and Loewe’s classic. The scene is set before a word is even spoken; the notes of the Christchurch Symphony Orchestra fill the theatre as the cast emerge to set the scene.

My Fair Lady tells the story of young cockney flower girl, Eliza Doolittle, and Professor Henry Higgins’ bet that he can teach her to speak like a “proper English lady” in just six months.

Many audience members are familiar with the story from the George Bernard Shaw play Pygmalion, the 1964 film starring Audrey Hepburn, or the Theatre Royal record-breaking run of 171 performances in 1962. While I was vaguely familiar with the story and some songs, I am more a fan of modern musicals, so I was interested to see how My Fair Lady would hold up in 2023.

It’s fair to say, I was thoroughly impressed. It’s hard to go wrong with the iconic musical theatre duo of Director Stephen Robertson and Musical Director Richard Marrett. With the support of an expert team of designers and talented cast, My Fair Lady is a spectacular evening at the theatre.

Leading the cast as Eliza, Emily Burns is phenomenal. Burns commands the stage, her cockney laughter is infectious and voice flawless. The final note in “I Could Have Danced All Night” – just, wow! Having seen Laurel Gregory in Next to Normal (The Court Theatre) earlier this year, I can imagine she is equally brilliant in the role.

Michael Lee Porter is the perfect Henry Higgins; he doesn’t skip a beat, with impeccable diction in some very wordy songs. It’s a treat for Christchurch audiences to see Porter on stage, returning home from his base in Australia.

The supporting cast holds their own, with highlights including Warwick Shillito as Colonel Pickering, Cameron Melville as the lovestruck Freddy Enysford-Hill and Angela Johnson as the sassy crowd-favourite Mrs Higgins.

The ensemble gives a strong performance, seamlessly juggling quick changes from flower girls and the pub crowd to Higgins’ household staff to ball guests. A special mention to stand-out dancer Lennox Dunn for his performance in “Get Me To The Church On Time”.

Glen Harris’ choreography supports the feeling of being transported to 1912 and I enjoy references to other musicals such as the dancing chimney sweeps a la Mary Poppins and a nod to That Bloody Woman with the glimpse of some suffragettes. The waltz at the ball is a little messy, perhaps overcrowded given the space available.

The costumes, hats and wigs are glorious, especially the lavish lilac during the Ascot races scene. Ben Rentoul’s sound design also shines at the horse races. There were a couple of moments of minor microphone issues, but overall, the sound is well balanced between the CSO and vocalists. Partnering with the CSO is the perfect choice for Loewe’s score, with excellent musical depth.

Harold Moot’s set design is grand but highly functional, complimented by AV design by Dave Spark. The backdrop appeared like grand paintings of London scenes, but cleverly transitions without you even noticing.

Showbiz’s production of My Fair Lady is a truly grand production in a suitably grand setting. A recommended evening out for classic musical theatre fans of all ages.

Copyright © in the review belongs to the reviewer