[NEohioPAL]Berko review: MY FAIR LADY (Cleveland Play House)

[Roy Berko]

Must see ‘MY FAIR LADY’  at CPH

Roy Berko

(Member, American Theatre Critics Association)

--THE TIMES NEWSPAPERS--
LORAIN COUNTY TIMES--WESTLAKER TIMES--LAKEWOOD NEWS
TIMES--OLMSTED-FAIRVIEW TIMES

Cleveland area theatres are in the midst of a series
of “let’s take a different approach to scripts”
experiences.  A male Hamlet, an all male Shakespeare
presentation and now, Cleveland Play House’s totally
off-beat production of ‘MY FAIR LADY,’ a very, very
traditional musical. 

‘MY FAIR LADY,’ with lyrics and book by Alan Jay
Lerner and music by Frederick Loewe opened on Broadway
 is in 1956 .  In contrast to popular belief, it was
not a direct adaptation of George Bernard Shaw’s
‘PYGMALION,’ but was based on a screenplay adopted by
Gabriel Pascal which had been based on the Shaw play,
which was based on the Roman myth of Pygmalion.  The
stage musical was made into a popular film in 1964.  A
contemporary version of the Pygmalion motif was
developed in the 1980s  play, ‘EDUCATING RITA.’

The Broadway version, which starred Rex Harrison and
Julie Andrews, ran for 2717 performances, a Broadway
record at the time.  It introduced the world to “Why 
Can’t the English,” “With a Little Bit of Luck,”
“Wouldn’t It Be Loverly,” “I Could Have Danced All
Night,” “Get Me to the Church on Time,” and “I’ve
Grown Accustomed to Her Face.”  

The play, which takes place in 1910, centers on Henry
Higgins, an opinionated linguistics professor and
confirmed bachelor, who makes a bet that within six
months he can transform an uneducated cockney flower
seller, Eliza Doolittle, into a lady who can take her
place in high society.  Eliza agrees to take the
lessons in order to fulfill her dream of working in a
flower shop.  Higgins wins the bet, but doesn't
bargain for the profound effect Eliza has had on his
life.  Melded into the story line are Shaw’s attacks
on the British social structure and educational
system.

The original Playbill and cast album included art by
Al Hirschfeld, which depicted Eliza Doolittle as a
marionette being manipulated by Henry Higgins, whose
own strings are being pulled by a heavenly puppeteer
who looks like George Bernard Shaw.  Some Shaw experts
were quite offended by Hirschfield’s depiction,
because they felt that Shaw’s statement regarding the
battle of women to be independent beings was
misrepresented by the puppet characterization.

Going to see yet another production of ‘MY FAIR LADY’
did not excite me.  I’ve seen the play over twenty
times.  Well...I was in for a big surprise!  The CPH
production breaks the traditional staging patterns
used for a presentation of ‘MY FAIR LADY.’  There is
no set, per se, and no orchestra in the pit.  Instead,
two pianos stand center stage surrounded by bleachers
on which the chorus sits throughout the show.  For the
various roles the chorus puts on costumes which have
been distributed around the stage.  Instead of a
realistic look, we are confronted by the alienation
style of Bertolt Brecht.  We know that we are in the
theatre, we see all the costume and setting changes. 
For some this will be off-setting, but for those who
are willing to trust director Amanda Dehnert’s
concept, the results are glorious.  

Dehnert takes the audience into the story with
creative staging, wonderful shticks and gimmicks and
clarity of song lyrics.  Except for making the
audience continually blink away the glaring electric
lights of a MY FAIR LADY sign above the action, the
alienation works to enhance the goings-on.

Devon Painter’s costumes are splendid.  She even
breaks the tradition of having the Ascot racing scene
done in black and white costumes.  (BTW...the reason
for the traditional dominance of black clothing in
that segment was because King Edward VII died on May
6, 1910, the traditional opening date of the Ascot
season, the year in which the play is set.)   

Don Wadsworth does a great job of working with the
dialects.  Greg Schanuel’s choreography lacks panache,
and he is hampered by the Bolton’s small stage and
having a cast that is mainly actors and singers and
not dancers.

Vocal Supervisor Tim Robertson has done an excellent
job making sure Lerner’s lyrics, which integrate
perfectly into the spoken script, are given meaning. 
This is usually not the case in many productions where
the musical sound is often stressed over the ideas of
the lyrics.  Except for some blending problems with
the male chorus, and some upper range issues with
Rachel Warren (Eliza), the music was wonderful.  It
was also nice to have a Henry Higgins who can actually
sing, rather than using a cadence count for the songs.
  Backing up the dual pianos (well played by Bill
Corcoran and Tim Robertson) with random violins and a
cello, enhanced the musical sound.

The cast is wonderful.  Rachael Warren gives a
non-Julie Andrews take to Eliza.  She is more
appropriately earthy, even when she becomes a “lady.” 
Timothy Crowe, is a more human Henry Higgins than was
Rex Harrison.  He embodies the role with clueless
arrogance.  George McDaniel makes the understanding
Colonel Pickering a perfect counter to the emotionally
retarded Higgins.  Larry Daggett is right on target as
Eliza’s father.  The chorus fulfills their multi-roles
with acting quality.

CAPSULE JUDGMENT:   Amanda Dehnert’s take on ‘MY FAIR
LADY’ gives new life to the show.  The CPH production
is one for everyone to see...both those who have
experienced the script before and those who have not
had the delightful pleasure of seeing Shaw’s ideas
morphed into a musical through the talents of Lerner
and Loewe.

‘MY FAIR LADY’ runs through October 29.  Call
216-795-7000 or go on-line to
www.clevelandplayhouse.com.

WE LIVE IN THE LARGEST MUNICIPAL AREA THAT DOES NOT
GIVE PUBLIC FUNDING FOR THE ARTS.  LET’S CHANGE THIS! 
VOTE FOR ISSUE 18!  


Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.

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