PYGMALION. To 2 August.

Bath/Tour.

PYGMALION
by George By Bernard Shaw.

Old Vic Theatre To 2 August 20908.
Mon-Sat 7.30pm Mat Wed & Sat 2.30pm.
Runs 2hr 25min One interval.

First seen at Theatre Royal Bath in summer 2007, then on tour.

TICKETS: 0870 060 6628.
www.oldvictheatre.com
Review: Timothy Ramsden 13 July 2007 at Theatre Royal Bath.

Enjoyable and stimulating, asking who learns most from whom.
Peter Hall’s production and Tim Pigott-Smith’s Henry Higgins may be too individual to be definitive, but they show clearly-etched psychologies behind the flower-girl-as-duchess story of speech and class.

At the play’s centre, Higgins declares he’s a childlike, reserved person; it’s the key to Pigott-Smith’s performance. He’s someone with a child’s enthusiasm and absorption in his own world. It’s evident from the start as he approaches people, telling their origins from their accents, with the broad smile of a man in his element, and the keenness of a youngster showing off his skill.

There’s an irresponsibility to the way he throws several handfuls of coins into Eliza’s flower-basket, initiating an action which he cannot know will test his bachelor existence, where a mother has been the only effective female presence (Una Stubbs’ housekeeper being a domestic extension of Mrs Higgins’ role). When Henry looks over his mother’s desk she removes his hat; a neat joke. The second time it happens, the action’s clearly habitual, the joke becoming richer.

Higgins has childish mood-swings. When frustrated or bored he’s forever fidgeting, behaving inappropriately, then apologising vehemently when it’s brought to his attention. It makes the end, when this child’s left alone in his mother’s room with everyone else at Doolittle senior’s wedding, silently eloquent.

Though Barry Stanton’s Pickering is more considerate, he’s clearly part of this male world, capable of ignoring Eliza. Michelle Dockery emphasises her intelligence and strength; she is a good girl, retains ambition and has the initiative to visit Wimpole Street and demand lessons. It makes sense of the final scenes; when she’s passed through the statuesque phase (near alabaster in her gown) she emerges and has the wit to use the expressive power she’s acquired (though it makes her lapse into Lisson Grove less likely).

Despite nearly tripping over his fast flow of words at times, Tony Haygarth is very funny as Doolittle, natural and unforced in his flow of ideas; as bright, if less ambitious, as his daughter. Cressida Trew’s Clara is a sour person, but clearly infatuated with Higgins. Altogether, a fine show they make of it.

Mrs Eynsford Hill: Pamela Miles.
Clara Eynsford Hill: Cressida Trew.
Freddy Eynsford Hill: Edward Bennett.
Eliza Doolittle: Michelle Dockery.
Colonel Pickering: Barry Stanton.
Henry Higgins: Tim Pigott-Smith.
Bystanders: Timothy Speyer, Mark Extance, Mia Austen.
Taxi Driver: Steven Alexander.
Mrs Pearce: Una Stubbs.
Alfred Doolittle: Tony Haygarth.
Mrs Higgins: Barbara Jefford.
Parlourmaid: Vivien Keene.

Director: Peter Hall.
Designer: Simon Higlett.
Lighting: Peter Mumford.
Sound: Gregory Clarke.
Musical Director: Mick Sands.
Costume: Christopher Woods.
Associate director: Cordelia Monsey.

2007-07-16 11:05:00