Surprisingly, the story of My Fair Lady, that most quintessentially British of musicals, has its origins in ancient Greece. The character of Henry Higgins is a reinterpretation of Pygmalion, the gifted sculptor from the myth recorded in Ovid’s Metamorphoses. In that story, Pygmalion is disillusioned by what he sees as the flaws of women and decides to remain unmarried, choosing instead to carve an ivory statue of a woman so exquisitely beautiful that he falls in love with his own creation.
George Bernard Shaw’s 1913 revision of the myth is a sharply satirical retelling in an updated social context. His Pygmalion is transplanted from the island of Cyprus to Edwardian London, and he reframes the story to explore class structures, gender roles, and questions of social mobility within a rigidly stratified society. In Shaw’s version, the transformation of his ‘creation’, Eliza, is less a romantic fantasy and more a treatise on the systems that determine social worth through our use of language, dialect, and physical appearance.
My Fair Lady is a 1956 musical adaptation of Shaw’s play by Lerner and Loewe. Like the play, the musical tells the story of Eliza Doolittle, a Cockney flower seller whose life is irrevocably altered after a chance encounter with phonetics expert Professor Henry Higgins. Higgins wagers that he can train Eliza to speak and behave like a duchess, passing her off in high society. What begins as an intellectual exercise gradually becomes a personal crusade for Higgins, and as Eliza transforms, she acquires not only linguistic precision and social polish but also a growing sense of identity and agency within a world in which she is constrained by both class and sex.
In this production, director Joseph Meighan leans heavily into Shaw’s satire, giving the production a pronounced feminist emphasis and giving it more resonance for a modern audience. The result is a vibrant interpretation that places Eliza firmly at its emotional centre and treats her journey with sensitivity and clarity.
This presentation also manages to blend the contemporary with an opulence that celebrates its Edwardian heritage. Modernity is expressed through the set design. It consists of a multifunctional architectural structure set against a white cyclorama which, expertly lit, serves as the backdrop for various external scenes. A series of well-designed and beautifully finished trucks are whisked on and off stage by the ensemble to move us in and out of Higgins’ apartment, allowing the action to flow seamlessly – essential in such a long and densely packed show.
The opulence comes from the magnificent costumes, expertly crafted in-house by Mike Shaw and the Garrick Wardrobe Team. The costumes are worth the ticket price alone. From Ascot Gavotte to the Embassy Ball, each is truly stunning.
Meighan is ably supported by Mark Goggins’ assured musical direction and Louise Pettitt’s stylish, elegant choreography. The thirteen-piece orchestra supports the cast superbly, providing note-perfect accompaniment throughout. While not the most dance-heavy of shows, the ensemble numbers move well and carry exactly the right energy in all the right places.
In the title role, Pippa Lane gives an exquisite portrayal of Eliza. Her transition from flower girl to debutante is entirely believable, and her crystal-clear soprano is a delight. Veteran performer Jonathan Black delivers an irascible and compelling portrayal of the arrogant Professor Higgins in what is undoubtedly one of the most demanding lead roles in musical theatre.
My primary criticism, however, is that while I found much merit in their individual performances, I struggled to connect with their central relationship, which carries so much of the show’s emotional weight. Some opening-night nerves perhaps led to minor deviations from the script, occasionally disrupting the flow and emotional continuity and this did not help. It was also regrettable that mobile phones were audible on multiple occasions which further impacted on mood and flow, although the cast handled these distractions with commendable professionalism.
Jonathan Barker is charming as the affable Colonel Pickering, and Christine Perry delivers an enjoyable performance as the long-suffering Mrs Pearce. Ivor Farley is energetic and engaging as Alfred P. Doolittle—unsurprising, perhaps, given this is his third time in the role.
Connor Ryan is excellent as the lovelorn Freddy Eynsford-Hill, delivering a delightfully unctuous rendition of On the Street Where You Live. One of the standout performances of the evening however, comes from Angela Wetherill as Mrs Higgins. Feisty and funny, Angela lights up the stage with each appearance.
One minor technical note concerns styling. A few contemporary grooming choices, including visible designer stubble, momentarily disrupt the otherwise carefully maintained period illusion. When so much care has otherwise been taken with hair, wigs and makeup this was a distracting anachronism. Thankfully, it’s nothing a quick whip round with a Bic wouldn’t fix.
This is a stylish, thoughtful interpretation of a timeless classic, anchored by several excellent central performances. Seventy years on, the show has lost none of its charm, elegance, or wit, and it is a pleasure to see Lerner and Loewe’s masterpiece continue to delight audiences as much as ever with this bold and gutsy retelling.
My Fair Lady runs until Sunday 28th June 2026 at Altrincham Garrick Playhouse (7.30pm nightly with matinee performance at 2.30pm on Saturday and 4pm on Sunday). Tickets are available via What’s On | Altrincham Garrick
Reviewer: Dan Grimes
Reviewed: 22nd June 2026
North West End UK Rating: