November 25, 2009
Reviewing a musical as well known as My Fair Lady, it's terribly tempting just to fall back on the cheap gags and nostalgia. It's even more tempting for a director to do the same, relying on fond memories of Audrey Hepburn's "AIE"'s to keep the audience happy. Wouldn't it be loverly if instead of saying that I could have danced all night, or exhorting you to get to the theatre on time, I could review the production on its own merits, not on how similar Charlie Ross’s (Poor Professor) Higgins is to Rex Harrison?
Fortunately, director Dave Crewe and the rest of the Oxford Operatic Society make this easy: this is an inspired, original and well-produced take on an old classic, with some absolutely stand-out performances. Until I read through the program, I could hardly believe that this was an amateur production. Knowing that such musical talent is hiding among the unassuming citizens of Oxford is rather exhilarating; it makes me want to stage one of those Broadway chorus scenes where the entire street bursts into perfect harmony.
Indeed, when the entire cast gets on stage it’s truly spectacular: whether it’s the boisterous dancing of tarts and dustmen to the tune of “With a Little Bit of Luck” or the fantastic monochrome poise of the Ascot scenes, the choreography and chorus were both top-notch, and strained the Playhouse’s performance space to its limits. It’s a good thing that Duncan Blagrove works as a carpenter, as I imagine the Playhouse’s boards will need some work once his infectiously enthusiastic (and hilarious) Alfred Doolittle has ceased treading them.
A strong chorus was a great complement to some wonderful leading performances, with many fresh touches that kept the audience laughing at old gags. I thought I detected shades of Donna Noble in Catharine Evan’s Eliza; however, her progression from bedraggled and insecure guttersnipe to self-confident and perfectly-spoken woman was brilliantly realized and utterly believable. The spark between her and Higgins was unmistakable, and produced both some wonderfully dry humour (“I’ve swallowed one of the marbles!” “Don’t worry, I’ve got lots more”) and a palpable sense of tension in the last act. Ross himself was every bit as cantankerous as Rex Harrison, while making the role his own with a convincingly misanthropic performance. Alex Williams as Freddy and Jeremy Dwight as Colonel Pickering were both very strong, getting laughs and performing some wonderful songs without stealing the show.
A few opening-night hiccups were to be expected: slightly erratic lighting meant that the stage crew carried out most of their protracted scene changes under the interested gaze of the audience. Still, I’m certain these will evaporate as the week progresses.
All in all, an excellent production all-round, and a credit to the Oxford Operatic Society. It’s not that this is an amateur production, brilliantly done; it’s a brilliant production that happens to be put on by amateurs. It’s fresh, fun and fantastically performed, one for lovers of the classic production and new fans alike.
Fortunately, director Dave Crewe and the rest of the Oxford Operatic Society make this easy: this is an inspired, original and well-produced take on an old classic, with some absolutely stand-out performances. Until I read through the program, I could hardly believe that this was an amateur production. Knowing that such musical talent is hiding among the unassuming citizens of Oxford is rather exhilarating; it makes me want to stage one of those Broadway chorus scenes where the entire street bursts into perfect harmony.
Indeed, when the entire cast gets on stage it’s truly spectacular: whether it’s the boisterous dancing of tarts and dustmen to the tune of “With a Little Bit of Luck” or the fantastic monochrome poise of the Ascot scenes, the choreography and chorus were both top-notch, and strained the Playhouse’s performance space to its limits. It’s a good thing that Duncan Blagrove works as a carpenter, as I imagine the Playhouse’s boards will need some work once his infectiously enthusiastic (and hilarious) Alfred Doolittle has ceased treading them.
A strong chorus was a great complement to some wonderful leading performances, with many fresh touches that kept the audience laughing at old gags. I thought I detected shades of Donna Noble in Catharine Evan’s Eliza; however, her progression from bedraggled and insecure guttersnipe to self-confident and perfectly-spoken woman was brilliantly realized and utterly believable. The spark between her and Higgins was unmistakable, and produced both some wonderfully dry humour (“I’ve swallowed one of the marbles!” “Don’t worry, I’ve got lots more”) and a palpable sense of tension in the last act. Ross himself was every bit as cantankerous as Rex Harrison, while making the role his own with a convincingly misanthropic performance. Alex Williams as Freddy and Jeremy Dwight as Colonel Pickering were both very strong, getting laughs and performing some wonderful songs without stealing the show.
A few opening-night hiccups were to be expected: slightly erratic lighting meant that the stage crew carried out most of their protracted scene changes under the interested gaze of the audience. Still, I’m certain these will evaporate as the week progresses.
All in all, an excellent production all-round, and a credit to the Oxford Operatic Society. It’s not that this is an amateur production, brilliantly done; it’s a brilliant production that happens to be put on by amateurs. It’s fresh, fun and fantastically performed, one for lovers of the classic production and new fans alike.