Somehow the adjustment to different stages (Boston is the largest city on this tour), has left the actors dwarfed by a space that is too big for them. Scene changes become an endless succession of shifting flats and scrims that fly in and out, but rarely help bring us into the story. Perhaps it’s understandable that Lincoln Center’s revolving set had to go, but along with it went the subtle point about the razor-thin differences between the lavish home of Henry Higgins and the “undeserving poor’s” curbside camps. Madeline Powell as Eliza Doolittle in "My Fair Lady." (Courtesy Jeremy Daniel) Along the way, we are treated to such magnificent songs as “With a Little Bit of Luck,” “I Could Have Danced All Night,” “On the Street Where You Live” and “Get Me to the Church on Time.” And because this is musical theater there is a bit of romance - or manipulation depending on your perspective - that Sher’s revisions acknowledge and build on.
ELIZA DOOLITTLE MY FAIR LADY BLOOMING ARSE HOW TO
The story follows Shaw’s “Pygmalion,” in which a phonetics professor makes a bet that he can teach a cockney flower seller how to be a lady in six months. So, it’s disappointing to report that in the production that stops at the Citizens Bank Opera House through April 30, nearly every corner has been cut to adapt this “My Fair Lady” to a national tour. The arrival of the touring production of the 2018 Lincoln Center revival of “My Fair Lady” was eagerly anticipated not only for Frederick Loewe and Alan Jay Lerner’s songs, but also for director Bartlett Sher’s gentle tweaking of the story to reflect George Bernard Shaw’s play more accurately.
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