Last Updated on December 12, 2024
A Timeless Tale of Transformation and Social Commentary
A blend of nostalgia and curiosity drew me to see the Old Vic’s production of Pygmalion, George Bernard Shaw’s renowned play originally penned in 1912. I wasn’t the only one keen to see it, as a dazzling turnout of stage and screen luminaries were out in force on press night to see Olivier Award-winner Richard Jones’s (Endgame, The Hairy Ape) production, which stars the Olivier Award-winning duo Bertie Carvel (The 47th, The Crown) and Patsy Ferran (Camp Siegfried, A Streetcar Named Desire).
Pygmalion serves as a timeless narrative of social mobility, with its story finding reinterpretation in various guises throughout the years. It has left its mark on well-known works such as the popular 1956 musical My Fair Lady and its later 1964 film, as well as tales like Cinderella and the 1990 film Pretty Woman. Additionally, we can trace its lineage to Metamorphosis, a 15-book poem authored by the Roman poet Ovid. Ovid’s narrative unfolds the tale of a sculptor hailing from Cyprus who, disenchanted by the world he inhabits, sculpts an ivory figure embodying his ideal woman. However, the story takes a poignant twist as he ultimately falls in love with his own creation.
Pygmalion revolves around themes of social class, identity, and the transformative power of education. The story of the irrepressible Eliza Doolittle, who dreams of a life beyond peddling flowers in Covent Garden. However, her fate takes an unexpected turn when she crosses paths with phonetics expert Professor Henry Higgins, and his friend Colonel Pickering, leading to a hasty wager between the two men, to transform her into a refined lady, poised to mingle with London’s elite.
Director Richard Jones’s well-observed production opens on the steps of St. Paul’s Church in Covent Garden. Stewart Laing’s minimalist set artfully mirrors the austere essence of Edwardian-era hierarchical Britain, replete with its pervasive snobbery. The Covent Garden scenes are portrayed with stone steps and large pillars in dusky pink tones, whereas Higgin’s studio features austere backdrops of symmetrical squares in an array of colours.
The first act focuses on the relationships, all of which are finely drawn. When Eliza arrives at Higgin’s house, she is cared for by the kindly and patient housekeeper Mrs Pearce who is sympathetically played by Penny Layden, she is treated with the utmost respect by the mild-mannered Colonel Pickering (Michael Gould) and vigorously tutored by Higgins, who is merely interested in following out his social experiment and winning his bet with the Colonel. Sylvestra Le Touzel delivers a refreshingly original portrayal of Mrs. Higgins, and John Marquez charms with his amusing performance as Alfred Doolittle, along with a geeky Freddy Eynsford Hill (Taheen Modak).
Patsy Ferran exudes a rare authenticity, which makes for a marvellously spirited and untamed Eliza, fizzing with infectious energy. Her transformation by the end of the play, which culminates in the emergence of a reconstructed, professionalised Eliza was an absolute triumph.
Bertie Carvel as the capricious Henry Higgins gives an acutely mannered performance, less sympathetic than the Higgins I know from previous productions, but he captures his pomposity, lack of social etiquette and inability to empathise or to understand women perfectly. His manifestation of the role brings the point of play to life, and his transformation, by contrast, reveals the weakness of a bully.
Whilst the first act is a little slow, the second act is pacier and brings the show right up to date with its contemporary themes. It opens on the ball scene which is beautifully choreographed by Sarah Fahie and elevated by Will Stuart’s frenetic score. The costumes exhibit a peculiar blend of styles that don’t clearly belong to any particular time period.
In today’s context, Pygmalion retains its relevance, addressing not only social class but also challenging traditional gender norms. Jones’s production and Ferran’s fiercely spirited interpretation of Eliza, underscores the hurdles women face when breaking free from societal constraints, reflecting a modern feminist struggle against restrictive gender roles.
This is a glorious show, remarkably witty and smart, featuring some memorable performances and sharp social commentary, catch it if you can.
At the Old Vic until 28 October 2023
Old Vic Theatre,
103 The Cut,
London
SE1 8NB
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