Review: A wonderful evening with Battle Theatrical Society's My Fair Lady

I was delighted to attend the opening night. As ever simply a personal observation of what I saw and heard or indeed overheard. `Classic` is an over- used description In many areas of life. However, this show can be described as a real classic. In an age of good productions, with songs which only `work` within the show and personally I can find no empathy with, it is refreshing to hear such a wonderful score and story brought to life. The strength is in the original story by George Bernard Shaw, `Pygmalion` coupled with the music and lyrics of Lerner & Lowe has deserved it`s enduring success and appeal. I well recall seeing the film version on a full-size cinema screen soon after it`s release and as a small boy being enchanted with it. It was spectacle but with substance.

Not having seen a stage version for a long time would it still appeal? A resounding yes is the only answer. BATS are never daunted by staging large scale musicals on a small stage. The company has responded again to the challenge, using the stage in a 2-tier set of Professor Higgins library and part of the auditorium for some scenes and the large ensemble numbers. The risk is in potentially, lost ticket sales but this was offset with some reduced price side seats.

The perennial story of the flower girl picked by chance observation by Higgins and driven and moulded into a lady is both heartwarming and fascinating to watch. I feel many professionals would be `stretched` to play the two main parts. I am firmly of the entrenched camp that if you cannot sing and act the roles then someone else should be selected, such was the controversy over the wonderful Audrey Hepburn in the film.

BATS have chosen wisely in a really, talented young lady Molly Hill, as Eliza Doolittle, who I did not remember but she has appeared before. From the opening scene to the rapturous applause she was greeted with on her deserved finale descent from the top of the set to the foreground, It was a sheer joy to see her transition from the feisty but lovely flower girl to the enchanting young lady who graced Royal Ascot, with some newly acquired enunciation and amusingly retelling some rather alarming anecdotes and the ball scene. The emerging from her social chrysalis as a butterfly, displayed also a newly quiet confidence in her posture and gracefulness. Molly wore the elegant gown with style. If her acting is so good in every entrance then her singing voice is sweet and clear, even in the early character and some assured and thrilling notes with a mature resonance in the late scenes. This is all so refreshing from the now often heard vocal gymnastics. In every song Molly judged it well with an enchanting `I could have danced all night ` when you felt her joy and emotion.

In the key role of Professor Higgins, the `much in demand` actor, singer and director, Gareth Brighton returns. He makes this very much his own creation. Henry Higgins is the ultimate linguist with a musician`s ear for dialects. Passionate, in his belief in the wonders and exquisite range of the evolved English language at the optimum pinnacle and convinced he can teach this to Eliza, we see his quest unroll as a Don Quixote of articulation and perfection. Gareth once again excels in an arduous, vocally demanding role. In the final scenes where their joint futures may or may not be, intertwined and indeed can they adapt socially and domestically, the future is left open and uncertain. Higgin`s accomplice in the project Colonel Pickering is played by David Baxter.

In storytelling as part of a musical, some songs are `padding` and certainly in the film Rex Harrison spoke/sang some sections but that is a skill all of it`s own. This show may be a glorious story with so many colourful scenes from the streets of London to Royal Ascot, but the music is the glory from the wistful pathos and yearning of `Wouldn`t it be loverly` to the glorious `I could have danced all night` and onto the elegant and fine melody of `On the Street where you love` sung simply by Harry Gentry as Freddy Eynsford Hill. His first meeting with Eliza at the races when eyes meet and `hearts stir` is convincing. He is besotted and maybe his first love will occur. Harry brings us a charming portrayal of a well brought up young man and with a graciousness, often lacking today. The venerable and highly experienced Mick Woodhams clearly relishes every moment as Eliza`s opportunistic survivor, Alfred P Doolittle but he powerfully sings `I`m Getting married in the morning` also dominating all around him. Mention must be made of the talented ensemble and this is great to see many who can play leading roles instead bringing their abilities to this group, notably for me Chris Eyre, Christopher Lavender, Pat Horwill and Rob Dyer. This large ensemble full of energy and some wonderful choreography, varied and filling the space, it was hard to know where to look. Notable in this group the terrific Rowan Ringrose who moves so well and his high kicks were amazing, also playing a cameo as` Hoxton man` and a fine appearance as Professor Zoltan Karparthy, who is there to `test` Eliza.

Great support in minor but essential roles from Melissa Hall as Mrs Pearce, Charlotte Collins as Mrs Eynsford-Hill & Rosemary Walker as Mrs Higgins.

Late into the night the dancing, singing and music was with me. Yes, it is long but that is in comparison with some (arguably) all too short theatre nowadays. Develop concentration and be absorbed by the `live` performance unfolding from months of planning, preparation and rehearsal.

The `icing on the cake ` of the evening is the `live` band under musical director Lesley van Egmond, made, all the more difficult being offstage and the cast following a screen to the left. Whilst I love the sweeping orchestrations for this show, the well chosen `reduced` number of musicians works exceptionally well especially in the street scenes where a local group of musicians may be playing out of sight. It also highlights the individual instrumental sounds. Dues paid musicians; Alex Hohenkerk) keyboard. Jonathan Bruce, Cello, Richart van Zyl violin. Dean Pelling, trumpet. Rosie Wilcock, trombone Galina Baxter & Alun Francis, reeds and Darren Barnes, drums ,

Adam Bunting-Smith and the team have brought this alive with affection and respect for the writers and composers. It feels authentic and no reimagining, trigger warnings or setting in the wrong period. Thank you. (One minor suggestion and I know to my cost this is essential) in all the frantic costume changing which can be fraught, the great wardrobe team for this could consider brief checks before entrances.

A wonderful evening out and I could cheerfully watch it all again. Final performance tonight 27th June with a matinee and evening performance Saturday 28th. Final tickets from TICKET SOURCE

Terence Hattemore