[NEohioPAL] Berko review: MY FAIR LADY @ Porthouse

Roy Berko via NEohioPAL neohiopal at lists.neohiopal.org
Mon Jun 30 05:19:31 PDT 2014


*A satisfying “My Fair Lady” opens the Porthouse 2014 season*



Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)



Last year’s Porthouse production of “South Pacific” joined the beautiful
and gifted Kayce Cummings (Green) as Nellie Forbush with suave and talented
Greg Violand as Emile DeBecque, with Terri Kent, the theatre’s artistic
director.  The result was “an evening of fine entertainment.”  This year
the trio joined forces for a pleasing “My Fair Lady.”



Kent knows her Porthouse audience well, and as with “South Pacific,” “My
Fair Lady” is definitely their kind of show.  She directs for audience
enjoyment, creating a show filled with joy, sprinkled with pathos.  She
succeeds well.



“My Fair Lady” has been termed “the perfect musical” and appears on most
lists of the ten greatest musicals.  It combines a nicely developed story
line, based on George Bernard Shaw’s “Pygmalion,” with meaningful lyrics by
Alan Jay Lerner and a memorable score by Frederick Loewe.



The story centers on Eliza Doolittle, a Cockney flower girl, who is brought
from her life as a poor uneducated waif to being a “lady” through the
training of phoneticist Henry Higgins.



The tale contains many of Shaw’s causes:  the poor educational system of the
British, the class structure, the superficiality of the upper classes and
the negative way in which women are perceived.



The musical score includes such classics as:  “I Could Have Danced All
Night,” “Why Can’t The English,” “The Rain in Spain,” “You Did It,” and
“I’ve Grown Accustomed to  Her Face.”  As in any well conceived musicals,
they all move the plot along and/or etch a character’s personality and
intentions.



The Porthouse production generally works well.  Kent and company take some
curves off the usual course.  The music is played by two pianos, rather
than the traditional large orchestra.  For most of the score, which are
small ballads, Jonathan Swoboda and Melissa Fiucci’s fine musicianship
worked well.  In fact, it enhanced the intimacy of such songs as “Wouldn’t
It Be Loverly: and “On the Street Where you Live.”  However, “Get Me to the
Church on Time” and “With a Little Bit of Luck,” could have used the oomph
provided by the missing louder orchestra instruments.



Though the set was very attractive, with some fine artistic touches,
Porthouse’s small stage was even more confined due to the stage design.  Large
wagons, which carried the settings onto the stage, often made for some
awkward levels, causing dancers and actors to straddle different stage
level surfaces.  This also seemed to restrict the choreography.



S. Q. Campbell’s costumes were well designed and era correct.  Especially
beautiful were Eliza’s dresses and the black and white women’s gowns and
hats in the “Ascot Gavotte.”



The cast was excellent.  Cummings nicely transitioned from the dirt-smudged
flower girl to the lady-like Eliza.  Her accent changes were distinct and
consistent.  Her “Rain in Spain” brought spontaneous applause from the
audience.



Greg Violand, who has a big voice, nicely pulled in his volume to develop
the talk-sing pattern developed by the late Rex Harrison, who created the
role.  His ability to listen and react, rather than forcibly act, worked
extremely well.  His was a fine, fine performance.

 Lissy Gulick, who plays “cute old lady” so well, again pulled off her
character development as Mrs. Pearce, Higgins’ housekeeper.  Geoff
Stephenson made for a compassionate Colonel Pickering.  Elliott Litherland
did a nice job 0f creating the love-struck Freddy.  His “On the Street
Where You Lived” was well sung.



Though he was quite acceptable, Rohn Thomas could have been a little more
out of control as the drunken moralist, Alfred P. Doolittle, Eliza’s father.




Daniel Lindenberger, Dylan Ratell, Connor Simpson and Christopher Tuck had
nice blending as the Quartet which joined Eliza in “Wouldn’t It Be Loverly.”



I’m not sure why Kent decided to play the role of Mrs. Higgins in drag.  That
device is so overdone that it has lost it’s kitchiness.



The duo of Cummings and Violand deserves another reprise.  How about
casting them in such a show as “Man of LaMancha,” or “Evita”?



*CAPSULE JUDGMENT:* *Under the directing awareness of Terri Kent, and the
outstanding performances by Kayce Cummings and Greg Violand, the Porthouse
production of "My Fair Lady,"was a fine evening of summer entertainment.*



“My Fair Lady” ran from June 12-28, 2014 at Porthouse Theatre, on the
grounds of Blossom Music Center.



NEXT UP AT PORTHOUSE:  “Starmites,” which runs from July 3-19,
followed by “Oliver,”
July  24-August 10.  Curtain time is 8 PM Tuesdays through Saturdays and 2
PM Sundays. The picnic grounds at Blossom open 90 minutes prior to curtain
time.  For tickets http://www.porthousetheatre.com

 or 330-929-4416 or 330-672-3884
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