"My Fair Lady," show #927

Good Company Players is currently running an absolutely loverly production of the Lerner and Loewe classic, My Fair Lady. The story, on paper, is nearly outdated in its acceptance of gender and class roles; specifically how it assumes the higher position of privilege at the expense and degradation of those in the lower. But, when helmed by a director with a sharp eye for when those in power can be laughed at rather than with, audiences are in for a treat as entertaining as afternoon tea. Director Elizabeth Fiester ensures My Fair Lady is just as worthy of doing today as it was in its debut in 1956. Led by an infallible Haleigh Cook as Eliza and Terry Lewis as Professor Higgins, the enemies-to-likers(?), -infatuators(?), -major crushers(?)-I wouldn’t go as far as saying “lovers”-plot remains very much intact while audiences know to laugh at the sexist, classist, and privileged pompousness on display rather than, in any fashion, cheer it on. In fact, this production brings to light how much still-relevant social commentary is embedded within Lerner’s book (adapted from George Bernard Shaw’s Pygmalion) and lyrics, supported beautifully by Loewe’s score. I didn’t think I’d leave the theater thinking My Fair Lady would have provided several astute observations on how society works in context, but it did, in addition to being a purely entertaining evening at the theater.

Cook brings a glorious soprano to the role while bringing a fresh interpretation to the role in pure comedic, hard-hitting ingenue fashion. “Wouldn’t it be Loverly?” and the iconic “I Could Have Danced All Night” are handled with terrific vocals by Cook while also making them arc-propelling acting pieces. Eliza is a role that is fodder for any actress who has both leading lady vocals paired with character-actress abilities: it’s one of the few roles written for a woman where the actress gets to be legitimately hilarious while also requiring legitimately gifted vocals; Cook fits the bill perfectly and leads the show alongside a well-candence, sturdy Lewis. The two share precisely timed scenework, hurling insults and retorts at one another with a rapport that anchors the roles’ ever-developing chemistry on a sturdy foundation, complemented by the voice-of-reason, genuine Col. Pickering, played with aplomb and charm by Roger Christensen. Act one’s patter “I’m an Ordinary Man” and act two’s revealing “I’ve Grown Accustomed to Her Face” are delivered with proper nuance and patient insight by Lewis, making these often let’s-just-get-through-them numbers ones to lean forward for and pay attention to. “The Rain in Spain” is a trio highlight for Cook, Lewis, and Christensen, with choreography by Steve Souza and Malinda Asbury that spans the Higgins study in engaging and joyous fashion when Eliza finally learns her vowels the way Higgins insists upon.

Teddy Maldonado carries the supporting role of Alfred Doolittle by being the every man drunkard who gives long-winded pontifications and observations on the lower class, making for some of the most compelling lines the script offers. But not just a raconteur, Doolittle has two romps that lift the ballad-heavy score with “With a Little Bit of Luck” and “Get Me to the Church on Time,” both staged with superb formation and energy-building moves by Souza and Asbury. R.L. Preheim delivers a memorable Freddy Eynsford-Hill, the juvenile role who is truly infatuated with Eliza. Preheim’s tenor is well-suited for “On the Street Where You Live,” a song that allows the audience to care for him because he cares for Eliza so dearly. Preheim shows this true caring, the longing for, and desire to impress Eliza in a loveable fashion. Aurora Nibley is a scene-stealing comedienne as Mrs. Higgins, hurling her own insults towards Prof. Higgins in response to his manners and abhorrent treatment of Eliza with so much dripping sarcasm and motherly conviction that you simply wish the writers had written more for her part. Collectively, the cast is stacked in the featured and ensemble roles, both vocally and in fleshing out the scenes support.

David Pierce’s set is generous in giving texture and character to each locale, with decadent detail given to Higgins’ study. Ginger Kay Lewis-Reed’s costume design is fabulous in its dressing of the various classes, whether seen in small groups or ensemble-wide. Joielle Adams and Andrea Henrickson’s lighting design is delightful in every aspect expected, especially when Higgins and Eliza are sharing in one of their numerous conversations. Michael Fidalgo does a terrific job in vocal directing this production, having the company-wide numbers, bringing the harmonies of the Loverly Quartet to a heavenly balance, and navigating the vocal duties of Eliza, Alfred, Higgins, and Freddy so so the sum are as good as its parts. In all, this My Fair Lady is not to be missed, so do what must be done to book your ticket to this most theatrically entertaining grammar lesson!