It’s rare for an artistic company to present a critic’s favorite musical—in this case Alan J. Lerner and Frederick Lowe’s My Fair Lady, based on George Bernard Shaw’s play, Pygmalion—and to succeed so beautifully, against considerable odds. For those who have not yet been to Ivoryton (do make this the first time) both the stage and the venue are quite small. In this production, there can be no grand orchestra or cast of hundreds. Somehow, the numerous sets, scenes, and scene changes must be pared down or suggested, without losing the energy of the show. Director Brian Feehan and his marvelous cast achieve exactly this.
As the lights come up, we begin to see how Feehan has worked his magic. First, instead of an orchestra, two baby grand pianos sit nearly out of sight at the far left and far right of the stage. Feehan tells us that Gertrude Rittman, who arranged all of Rogers and Hammerstein’s shows as well as Lerner and Lowe’s, first used two pianos when the original production began touring, understanding that it would be exceedingly difficult to tour with a full orchestra.
Secondly, we see immediately that Feehan will not attempt to create the impossible: all the many different scenes in the production. Cully Long’s backdrop of delicately stenciled books, atlases, and globes suggests Professor Higgins’ library and home. This choice of backdrop implies that no matter where we literally are, Higgins hovers over all, something that Eliza most likely feels.
Thirdly, Marcus Abbott’s lighting design gracefully and subtly takes us from place to place. A lovely example is when Eliza is getting ready for bed after “The Rain in Spain.” She remains in Higgins library—where else would she go? —and with the maids and Mrs. Pearce’s help, she prepares to sleep. Abbott uses a soft blue light for the scene which we don’t see anywhere else in the play, and we have no doubt that Eliza in fact is in her bedroom, singing “I Could Have Danced All Night.”
Finally, we have Feehan’s vision and casting. Not everyone will agree with his focus on a growing romantic relationship between Higgins (a handsome and dynamic Trevor Martin) and Eliza (Claire Marie Spencer, who plays the role as strong and multi- faceted). But Feehan has wisely cast the two as close in age and energy so that their skirmishes emphasize both Eliza’s gumption and her clear understanding of the class complications that Higgins has created for her. However—and thankfully—this director has kept sentimentality and melodrama out of the ending. I do wish Feehan had not provided supertitles for the opening and the final scene, as if we needed the story explained to us. But this is a quibble. His blocking choice for the last moment of the play is fascinating and appropriately ambiguous.
The rest of the cast is terrific, especially Stacia Fernandez (Mrs. Higgins), Scott Mikita (Alfred P. Doolittle), Ben S. Daniel (Freddy Eynsford-Hill), and most winningly, Joe Dellger as Colonel Pickering. Other than Dellger, the rest of the nine actors make up the Ensemble: they play numerous roles and are convincing and buoyant throughout. All the voices shine, and everyone is clearly having a great deal of fun.
And certainly, so are we. Bravo, Ivoryton!
For tickets ($60 adults, seniors $55, students $25 with discount tickets for $30 if available on Thursdays at the box office) call the Ivoryton Playhouse, 103 Main Street, Ivoryton at 860-767-7318 or online at Ivorytonplayhouse.org. Performances are Wednesday at 2 p.m, Thursday 2 p.m. and 7:30 p.m., Friday at 7:30 p.m., Saturday at 2 p.m. and 7:30 p.m. and Sunday at 2 p.m. Now is the time to make a reservation for the Summer Season After Party on September 13 by visiting Ivorytonplayhouse.org.
