Friday, November 27, 2015

Review: 'My Fair Lady'

Act II Playhouse in Ambler downsizes "My Fair Lady" to mixed results. Inquirer theater critic Howard Shapiro reviews.

Review: 'My Fair Lady'

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Henry Higgins (Tony Braithwaite) shows Eliza Doolittle (Eileen Cella) his transcription of her Cockney accent in Act II Playhouse's production of "My Fair Lady" while Harrison Post and Owen Pelesh looks on. Photo by Bill D'Agostino.

By Howard Shapiro

“And oh, that towering feeling! ...that overpowering feeling,” sings the character Freddy in My Fair Lady, in one of the greatest songs of the American theater, “On the Street Where You Live.” He’s been hopelessly smitten by the transformed flower girl, Eliza Doolittle.

Oh, that towering feeling -- it’s what’s missing from the Act II Playhouse production of the now-classic musical by Alan Jay Lerner and Frederick Loewe. Overpowering? I’m afraid not.

The theater company has been making much of the fact that it is producing the normally lush and lavish musical on the intimate stage of its 130-seat theater in Ambler. The payoff: An intimate production (read that: downsized) could more intensely focus on the relationship between Henry Higgins, the insufferable snob who defines people’s worth by the way they talk, and his student, Doolittle — a street girl whose English and manners he’ll reshape well enough to pass her off as a duchess.

All of this presumes that the relationship generally appears muddy in more richly defined productions, which is nonsense. The endgame here, though, is not motive -- it’s outcome. Act II’s My Fair Lady is entertaining and I certainly came away admiring its loverly cast, but I couldn’t get past its littleness. If you know the show, the experience is like watching, say, the movie Gandhi on your smartphone screen. The story’s there, the sweep isn’t.

The production is severely held back by its accompaniment -- a lone piano played by Robert Diton. For starters, the piano needs tuning, but worse than that is the context the instrument provides: We feel like we’re seeing a run-through of a great musical to the backing of a rehearsal piano, and the orchestra will be there tomorrow night.

Add to this some high-school theater touches -- the plunked-down wigs, the championship mugging by some of the ensemble, our first impression of Eliza Doolittle when the greasepaint applied to her face to make her look dirty is clearly greasepaint applied to her face to make her look dirty.

But wait — a professional cast of actors gives it their all, and what we get in the end are tuneful ensemble voices and a likable rendition of the show’s many iconic songs. We even get good dancing, staged impressively for a small space by the music director, Sonny Leo.

Act II’s outgoing chief, Bud Martin, who officially takes the helm of Wilmington’s Delaware Theatre Company today, directs this My Fair Lady, and casts the comic actor Tony Braithwaite in the role of Higgins. Braithwaite will take over Martin’s role at Act II, but before that, he brings off a worthy and nuanced Higgins, and Chris Faith makes a fine sidekick as Col. Pickering. Eileen Cella is charming and full-voiced as Eliza, and her solos win the night, and so does Jonathan Silver as Freddy — with the towering feeling and a heartfelt rendition.

Mary Martello is classy and great fun as Higgin’s mom, Mike Corr cuts a fine figure of Eliza’s drunken dad and Lindsay Mauck overcomes the fact that she looks too young to be Higgins’ austere head of the household staff -- even if she is performing in a sort of dollhouse version.

Contact Howard Shapiro at 215-854-5727,, or #philastage on Twitter.


My Fair Lady: Through June 3 at Act II Playhouse, 56 E. Butler Ave., Ambler. Tickets: $22-$36. Information: 215-654-0200 or


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About this blog

Toby Zinman's night job since 2006 is theater critic for the Inquirer where she reviews New York and London as well as Philadelphia. Her day job: Prize-winning prof at UArts, author of five books about modern and contemporary drama, and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). She was recently named by American Theatre magazine "one of the twelve most influential critics in America."

Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.

Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.

Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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