FringeReview UK 2026
My Fair Lady
Chichester Festival Theatre
Genre: Adaptation, American Theater, classical, Comedy, Costume, Feminist Theatre, Mainstream Theatre, Musical Theatre, Political, Theatre
Venue: Chichester Festival Theatre
Festival: FringeReview UK
Low Down
Another year, another sure-fire hit musical from Chichester. This dazzles in depth. My Fair Lady directed by Rachel Kavanaugh arrives at Chichester Festival Theatre till September 5.
Kavanagh’s production is in every way outstanding, I’m not sure there’s been a finer – or at least more believable – My Fair Lady conceived and staged as here.
Review
Another year, another sure-fire hit musical from Chichester. A dazzle that might seem so predictable after a run of recent hits from Assassins to Oliver! Not this time. This dazzles in depth. Bernard Shaw’s 1913 Pygmalion – and Lerner and Loewe’s 1956 My Fair Lady based on Shaw’s 1938 film – was all about transformation. But here’s a production that convincingly transforms the character of Higgins, confirms one near-newcomer as a star; and transforms someone making their professional stage debut into an overnight sensation. That though is just the start of superlatives. My Fair Lady directed by Rachel Kavanaugh arrives at Chichester Festival Theatre till September 5.
As realised uniquely by Kavanaugh, the transformation of the two leads works both ways and humanises a confirmed misogynist into a spoilt if brilliant man-child: concealed by intellect and accent, scolded and cosseted by his redoubtable mother. By the end, we see how much is etched on Higgins as Eliza Doolittle reverse-engineers the speaking engine into feeling.
Hadley Fraser making his second appearance this year at Chichester, now enjoys a part fully worthy of him. His horrible Higgins glares with the energy of Rik Mayall and the entitlement of Rex Harrison in the same role. The physicality he brought to Magic back in May is in evidence as a contained ferocity. It’s his development as Higgins though, and fine singing, that captivate. His scorn modulates back and forth, his exuberance betrays both a liking for Eliza he can’t acknowledge, and obliviousness to her qualities when he thinks all triumphs are his. But it’s his sheer desolation when finally alone, playing a particular gramophone recording, and what happens afterwards that make this Higgins, unbelievably, heart-stopping.
It starts with a beam on a basket of violets. And explodes into colour. Various ensembles coalesce around Eliza (Keziah Ibe) and Fraser, as well as Tony Jayawardena’s Colonel Pickering – realised to the life by someone who shone as Churchill and avuncular surgeon in the National’s Nye. Jayawardena makes such figures glow. His Pickering is humane and believably warm towards Eliza.
Stephen Mear’s choreography here is outstanding. Whether devising a frantic pas de deux for the two leads, a small or large ensemble, a knees-up in a pub or Ascot Week, Mear provides clear characterisation but with a sweeping clarity that never falters.
Quartets and choruses though are standouts vocally too; a tribute to musical director Stephen Ridley. Around a brazier there’s wonderful harmonies from The Cockney Quartet (Jonathan Bourne, Nic Cain (also a policeman), Joe Henry (also Zoltan Karpathy, shady ex-pupil of Higgins, determined to unmask Eliza), Kody Mortimer); or Servants Chorus (Bourne and Mortimer again, Shani Cantor, Maggie Lynne, Anna McGarahan).
Here though it’s the charisma of Gary Milner as Alfred P. Doolittle which sparkles, sometimes fizzes with disappointment. Milner brings not only a wiry energy to Doolittle, he can trump Fraser’s Higgins with truculent amorality, and lament his lot. His ‘With a Little Bit of Luck’ and ‘I’m Getting Married in the Morning’ are highlights, especially the dancing. To the latter he brings an epilogue of genuine pathos: his dancing days might be done. Morality – and an annuity – snares him.
Finty Williams’ firm yet consolatory Mrs Pearce comes across as someone who can cross Higgins and he take it; as the admonition of someone almost in loco parentis (his mother would approve). Williams exudes brisk solicitude and fearless criticisms on the leads. Belinda Lang’s Mrs Higgins is a portrait of someone seemingly adamantine, apparating like a queen; but with far shrewder judgement about people than her son and surprisingly flexible about class too. There’s genuine warmth towards Ibe’s Eliza.
Rachel Stanley’s Mrs Eynsford-Hill (she doubles as gossipy Cockney Mrs Hopkins) is a neat foil to this, realised as a more conventional soul. Nothing prepares us for her conventional cloud-struck son. And Ben Culleton’s Freddy is one of the revelations of the evening. ‘On the Street Where You Live’ might reveal his inadequacy as a partner for Eliza – especially as he’s fallen for her singular in-between state – but hearing Culleton’s ardent lyric tenor would surely change anyone’s mind. Only Ella Kora’s Flower Girl is there to appreciate him. When Eliza furiously tears up his letters presented all at once, it’s painful but makes no difference to Freddy’s infatuation.
It is though Ibe’s breakthrough Eliza that stuns from the opening ’Wouldn’t It Be Lovelry?’ where her accent is only topped by the bird-shrieks of dismay at crushed violets or mistreatment she emits in piercing, tragi-comic volume that really does suggest a bird. Ibe though both sharpens Eliza’s fierce independence, her confidence in taking up Higgins’ wager (in a different way to Pickering) and slow, painful development through her vocal exercises – the 1938 addition that makes it far more believable – through her comedic halfway-voice. The accent’s in place but delivered not only with the words unchanged but the stiffness Ibe applies to her opening gambits.
Both the ‘Just You Wait, Henry Higgins’ numbers are sung with the latter’s repeat marking the distance travelled. Every stage in Eliza’s development is realised, through the perfection of voice to selfhood as a formidable, courageous young woman determined to make her way: if necessary without mandatory offers of marriage or succour.
And yet… Her ’I Could Have Danced All Night’ shows another side, following a dazzling piece of Mears’ choreography with Fraser. Here Ibe’s lyric soprano is unadorned with accent (except RP-singing) and both melting and exuberant. It’s also passionate and tender. With this Ibe’s Eliza stamps her name on the role with golden letters. It’s her interaction with Fraser though that’s stunning. From defiant to raging through to a quiet authority at the end after several kinds of repudiation, that shows off why Ibe is dazzling.
Every role sparks or sparkles. Jennifer Louise-Jones’ Georgie the Bartender firing ripostes, to barflies like TJ Lloyd’s Jamie – who leads off a beautifully-harmonised chorus later in the show – and who doubles with Nicholas Duncan’s hanger-on Harry. Jessica Vaux’ Maid to Mrs Higgins gleams in reflected light and solicitude to Eliza. Elsewhere Mark D’Arcy, Reuben Lally, Talia Duff and Zack Guest compete an outstanding cast.
Conducted by Cat Beveridge (Music Supervisor Stephen Ridley). What’s so striking about Tom Kelly’s orchestration, delivered by Beveridge and her ensemble, is a gleaming articulation of woodwind and brass solos, shaded and pristine. Ian Dickinson’s sound deserves plaudits for delivering that; and an almost terrifying stereoscope of horses’ hooves. Twice.
Peter McKintosh’s gorgeous, shrewdly swept set at the beginning -with Howard Harrison’s laser lighting on a single basket of violets – gives way to a sliding interior of Henry Higgins’s study. It’s varied once with green baize for his mother’s conservatory, and swept clear again for the Ambassador’s ball. It’s where Harrison’s lighting is most exquisite, spot-lit on individual chairs. The costumes from dun cockney shades to brilliant ball-gowns and Ascot week dazzle in everything from lemon through mauve and back to burnt and raw Siennas.
In Kavanaugh’s hands though we have something special. The first wholly believable ending, different of course to Pygmalion’s, one that can rankle. It’s hardly a coincidence that this is – surprisingly, given its feminism – the first revival of the musical directed by a woman. Playing that record on repeat to himself Fraser’s Higgins is for the first time broken, as it were. It’s then that Ibe slowly enters; the transformation is frankly heart-rending. As Ibe sits herself opposite there’s silence for the first time; it’s true magic.
Kavanagh’s production is in every way outstanding over its three hours which fly by. I’m not sure there’s been a finer – or at least more believable – My Fair Lady conceived and staged as here. In Culleton a star is revealed. Ibe is even more a revelation – a star with every glittering cliché she deserves. A transfer and awards surely beckon.
Casting Director Stuart Burt CDG CSA, Voice & Dialect Coach Charmian Hoare, Associate Choreographer Jo Morris, Associate Orchestrator Will Parker, Associate Sound Designer Christopher Reid, Assistant Director Laurence Belcher, Assistant Musical Director Jon Laird, Casting Associate Peter Noden.
Production Manager Kate West, Costume Supervisor Poppy Hall,
Wigs, Hair & Make-Up Carole Hancock, Props Supervisor Chris Marcus and Jonathan Hall for Marcus Hall Props, Associate Production Manager Charlotte Ranson, Assistant Costume Supervisor Aimee Derby.
Company Stage Manager Kristy Warwick, Stage Manager Lou Bann, DSM Jo Dunne, ASM and Book Cover Louise Morrison, ASMs Bethany Hardman, Clara Roberts. Photo Credit: Johan Persson.
