Opera Australia has pulled together all the right ingredients with a fabulously entertaining and surprisingly poignant presentation of the musical whose songs are embedded in the memories of all who grew up in the late 50s and early 60s, when the soundtrack album dominated the airwaves.

The story is rooted in George Bernard Shaw’s witty analysis of the role of language in enforcing class barriers. But the musical genius of Lerner and Loewe has grafted an inspiring fable of self-transformation on to Shaw’s sturdy stock and the story blossoms into an enthralling psychological duel between an arrogant creator and his fiercely independent creature. [More]

Copyright © in the review belongs to the reviewer

The lasting brilliance of Alan Jay Lerner (book and Lyrics) and Frederick Loewe (music), who in 1956 adapted George Barnard Shaw’s 1913 play and Gabriel Pascal’s subsequent 1938 motion picture Pygmalion to create the musical My Fair Lady, came to life with great flair and aplomb in Auckland’s Mighty Civic last night, to an enthusiastic response from a well satisfied opening night audience.

As the crowd began to chat over conductor Brian Castles-Onion and his notable 21 players’ well executed overture, I wondered if the My Fair Lady phenomenon – "bigger than Elvis" when it peaked in popularity according to the programme notes (a fascinating read) – would hold our attention for the next 3 hours, and stand the test of time, nearly a hundred years on from when it is set (London 1912), and in a city whose colourful cosmopolitan culture is far removed from Covent Garden and Ascot.

However, whenever Opera Australia’s phenomenal 33-strong company launched into the musical’s string of timeless classics, they proved nothing is more enduring than a damn good tune sung well (or spoken well, in the case of Higgins).

Musically, the simple melodies and pure craftsmanship of Loewe are executed extremely well by both orchestra and cast, under the direction of Castles-Onion.

Not only that, in a world where how we speak still communicates so much about a person’s identity, culture and class (or more importantly, their perceived identity, culture and class), and prominent publications such as the New Zealand Listener proclaim on their front cover, "The alarming trends in our accent" (February 28 – March 6 2009 issue, see also letters to the editor in the following issues), it is clear that diction, accent and phonetics still matter to many. Are we influenced by how we speak, or what we say?

Finally, the story of Eliza Doolittle, a brassy cockney flower girl who wants to foot it as a lady, and so asks the pompous and apparently self-serving professor Henry Higgins for help, (which he then turns into a wager with his chum Pickering), is so much more than simple elocution lessons. But only if a production pitches Lerner and Shaw’s brilliantly written yet blunt, controversial characterisations, with just the right amount of confidence, without dissolving into caricatures.

Thankfully, the inspired casting and directing of Stuart Maunder ensures the journey through language brings to the surface the right combination of affectation, ambition, social mobility, class, money, greed, dependence and the very nature of how differently men and women use language to not only communicate, but define themselves, to make this production extremely watchable and intriguing.  

And of course, taking into account it is London 1912, the script, while producing some confrontational and serious moments, is bloody hilarious, full of thigh slapping jokes and dry humour. My Fair Lady is also a wonderful celebration of all expressions of the English language, with phrases like; "cold blooded murder of the British tongue"; "nerves as raw as meat in a butcher’s window" and "’E’s off his chump!"

As Higgins, William McInnes adds the perfect hint of charisma and occasional vulnerability, to temper Higgins’ defining cruel snobbery and bullying. His spoken songs are every bit as brilliant and rhythmical as Rex Harrison’s when he reprised his stage role for the 1964 film version of the musical.

Taryn Fiebig’ s exquisite singing voice ensures Eliza’s well-known hits are delivered exactly as Loewe would have intended them to be.

McInnes and Fiebig work well together, both endowing their characters with appealing intelligence and enthusiasm, thus creating the all important ‘chemistry’ in the famous "Rain In Spain" scene, as Higgins finally drops his bully tactics and controlling ways and gives her a bit of positive affirmation.

Their well-judged final scene is played with enough suitable vagueness to leave us thinking Eliza and Henry will perhaps find a way of being together; that a foundation of mutual respect and understanding is possible, rather than flippant disregard and power games.

Robert Grubb (well known to many as Dr Geoff Standish in The Flying Doctors) has a naughty gravelly quality to his voice, and a twinkle in his eye that makes his Alfred P Doolittle a lovable rogue, full of flaws and effortless humour, rather than the easy clichéd rascal the part is often allowed to become.

Our very own Grande Dame, the statuesque elegant Ilona Rodgers, demands attention through stillness, and deservedly gets it, playing Mrs. Higgins.

Hayden Tee is in fine voice, and is deliciously sappy and gushy as the love-struck Freddy, while Rhys McConnochie and Robyn Arthur both look at ease as Colonel Hugh Pickering and Mrs. Pearce respectively.

The Ascot Race Day creations by costume designer Roger Kirk are quite simply breathtaking; his ensemble statement secures grey as the new black. A close second is the elegance and detail he invests in the Embassy Ball costumes. Across the board Kirk’s designs are fabulous, from the pearly white button suits of the Music Hall to the prim and proper maids in the starched white bonnets and aprons.

Lighting designer Trudy Dalgleish uses a massive cyclorama to depict the colours and expansiveness of London at the top of the show, then creates a stunning segue to the intense pigments of flowers in Covent Garden’s markets. Her work throughout is excellent, and regrettably she is let down by some mis-timed (usually late), jerky, distracting follow spot operation. I assume this was a one off: opening night nerves.

Group choreography and even some of the ensemble’s spoken dialogue is at times a little stilted, even overly ‘mannered’. At other times the ensemble’s energy is far more relaxed, and enjoyable to watch, especially when they let rip with a full set of spoons in the Music Hall-inspired setting for ‘Get Me To The Church In Time’.

As mentioned, quality of singing is stunning across the entire company. Sound designer John O’Donnell manages to create individual definition, the right blend of harmonies, plus great warmth and vocal presence when the full ensemble sings.

Set designer Richard Roberts’ effective use of a large revolving stage allows a series of impressive facades to appear before us. Each location suits the period, serving scenes and songs very well, with staircases and steps giving Maunder lots of options and variety.

My Fair Lady has been described as "the perfect musical" (1). Opera Australia’s production goes a long way to showing why.

(1) ^ See, e.g., Steyn, Mark. Broadway Babies Say Goodnight: Musicals Then and Now, Routledge (1999), p. 119 ISBN 0415922860 and this 1993 NY Times review

Copyright © in the review belongs to the reviewer