The Bailey Theatre Company put on a light-hearted, funny, and witty production of Pygmalion (based off the My Fairy Lady screenplay) in St. John’s theatre at the end last term, providing a light-hearted end to a busy few months. The play follows Eliza Doolittle, an impoverished young lady who sells flowers to make a living, crossing paths with Henry Higgins, a linguist, and Colonel Pickering, a phonetics enthusiast. The two men endeavour to make an aristocrat of the low-class Eliza, and entertainment ensues henceforth. Along the way, we meet a variety of unique and quirky characters who make up the three protagonists’ lives. The production is able to stay true to its historical roots, while breathing a comedic relevance to the play, which gripped the audience from the very beginning.
Even with a small and narrow stage to work with, the set was still able to create a sense of coziness for its indoor scenes, and a distinct openness for its outdoor ones with the utilisation of different levels on and off the stage. However, even with the intentional, delicate and historically accurate costume, set, and props, no other aspect of the play was as immersive as the electric dynamics between each member of the ensemble.
Evidently, the comedic aspects of the play were put at the forefront of its intentions, and it delivered seamlessly on that front. The greatest show of comedy, and where the rapport between the cast really shone, were in the adapted, sometimes nonverbal moments, which allowed for every actor to react in the moment. The cast bounced off each other with comfort and ease, as well as displayed an eager sense of play. It was enjoyable and contagious to watch how much each person adored being onstage. No moment of comedy was left to one person but instead was held collaboratively to give each character their respective moment to shine. Distinctly aware of itself, the lines were delivered with wit, and the comedic elements were sharp and cutting, leaving no room for error. The time, effort, and care put into rehearsals was glaringly obvious in the final product, as every cast-member put their best foot forward, proving their dedication to entertaining their audience.
In a play surrounding the theme of speech and accents, each actor put their all into their respective characters’ speech patterns, creating a diverse and distinct set of characters all distinguishable by their original ways of speaking. Although sometimes slightly too speedy in certain line deliveries, diction and comprehension was not an issue. The performances whisked the audience away, having us feel we were merely observers peeking through a curtain into a world uninterrupted. The seemingly grand and large elements of the script were grounded by the meticulous and thorough character work, which was evidently explored with depth and care and allowed every character to be fully fleshed out and actualised on the stage.
A fun, tickling show full of heart, Pygmalion was a display of true dedication and teamwork. The cast worked together harmoniously, bouncing off each other and bringing each other up, creating a strong sense of unity and togetherness, echoing the growing warmth in the dynamics between the characters within the world of the play.
Image by Edward Burns-Jones, Pygmalion and the Image – The Heart Desires, 1878