The Curve has been on an impressive streak of homegrown productions. Following the successes of Grease and The Wizard of Oz, both of which toured the UK before transferring to the West End, it’s beginning to feel as though Nikolai Foster has a touch of magic about him. His latest endeavour is a sparkling revival of My Fair Lady, a show steeped in history.
Some may know George Bernard Shaw’s Pygmalion (1913), others the Oscar-winning 1964 film starring Audrey Hepburn, or even the original 1956 Broadway production with a young Julie Andrews. One day, perhaps, it will be this Curve revival that comes to mind.
For those unfamiliar with the story, My Fair Lady follows Eliza Doolittle, a Cockney flower seller from Covent Garden. In a chance encounter with Henry Higgins, a passionate linguistics professor, Higgins boasts that he can transform Eliza into a woman who could pass for nobility—simply through speech lessons. Eliza seizes the opportunity, hoping it will lead to a better life. While the tale is filled with comedic moments, its themes of class and sexism are undeniable, and Foster’s production does not shy away from exploring these deeper issues.
Once again, Foster has delivered a sumptuous production brimming with charm. Molly Lynch’s performance as Eliza was utterly captivating. One of the greatest challenges in playing Eliza lies in convincingly portraying her vocal transformation, and Lynch made it seem effortless. Her Eliza was fiery, determined, and vulnerable in equal measure.
David Seadon-Young brought Henry Higgins to life with an excellent balance of entitlement and humour. His portrayal left me infuriated by Higgins’ arrogance, particularly during A Hymn to Him, where he laments why women can’t be more like men. However, Foster cleverly partnered this with Higgins struggling to dress himself without help from his housekeeper, Mrs Pearce. Seadon-Young allowed Higgins’ stubborn facade to crack in I’ve Grown Accustomed to Her Face, revealing a broken man whose emotions were more complex than his outward behaviour suggested.
Steve Furst was phenomenal as Alfred P. Doolittle, Eliza’s roguish father. While large ensemble numbers were few in this production, Furst had the privilege of leading two standouts, including the toe-tapping Get Me to the Church on Time.
Musically, George Dyer’s arrangements were masterful. Wouldn’t It Be Lovely was, indeed, “luverly,” and the orchestration throughout the show soared with fullness and heart. Michael Taylor’s set design was a visual spectacle, a love letter to London’s architecture. Cast-iron structures evoked Liverpool Street Station, while the iconic columns of St Paul’s Church anchored the setting. Higgins’ office was a cluttered treasure trove of books, gramophones, and trinkets, brought to life with intricate detail. Yet, Taylor also embraced moments of simplicity. In the famous I Could Have Danced All Night, the elaborate set melted away to reveal a large moon, perfectly capturing Eliza’s romanticism and the dreamlike nature of the scene.
Overall, this production was sophisticated, grand, and a glorious homage to the golden age of Hollywood musicals—the kind that sparked a lifelong love of theatre for so many. I feel incredibly fortunate to have experienced this revival in its home at the Curve. With its polish and heart, it seems destined for a future life on tour and beyond.
My Fair Lady is running at the Leicester Curve until 4th January 2025.
★★★★★ (5*)
Gifted tickets in return for an honest review | Photography by Marc Brenner
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