MY FAIR LADY (2018) Previews- Page 19

[ArtMan]

Posted: 3/21/18 at 7:41pm

Thanks for your response, Poisonivy2.  As I mentioned earlier in this thread, I bought a crummy seat for my trip in May. (There were not a lot of options and I don't buy premium.)  Now, knowing this info, will make my experience more enjoyable.

[enjoyable2]

Posted: 3/21/18 at 7:45pm

Updated On: 3/22/18 at 07:45 PM

[GeorgeandDot]

Posted: 3/21/18 at 9:32pm

I just heard a bit of Lauren singing from the show and she sounds fantastic. It sounds like she's got a shockingly legit voice with a nice rich tone. Not sure what ya'll mean when you say that her voice is weak. I'm not really hearing that at all. In fact she has a bit of a round, dark tone, which is actually an interesting sound for the role. I was expecting a thin little voice and that's certainly not what I'm hearing. Instead I got a mature, legit soprano.

I'm seeing it next week, so I'll see if I feel the same way then.

[ScottyDoesn'tKnow2]

Posted: 3/21/18 at 9:49pm

At intermission now and it’s a very naturally acted version of My Fair Lady outside of Norbert and maybe Freddy. I have to say about Lauren’s singing, I think it’s mostly an acting choice because when she hit that last note in “I Could Have Danced all Night” the audience erupted. Not only was it well earned but it seemed like the first time Eliza really and truly spoke in her true voice that has been inside of her all her life. It was a brilliant choice I felt. Oh and the actor playing Freddy (sorry don’t have my Playbill in front of me as I’m outside smoking right now) gave the most glorious rendition of “On the Street Where She Lives.” I think Henry Haden-Patton is truly A plus here and I have to say this is the first Henry Higgins that seems truly proud of the strides Eliza has made and I felt a romance between them I haven’t felt in the film or other productions I’ve seen.

Updated On: 3/22/18 at 09:49 PM

[ScottyDoesn'tKnow2]

Posted: 3/21/18 at 11:21pm

This post is spoilery so skip it if you don’t want to know too much about this production. 

Just exited. I seriously can’t stop smiling. Briefly about the ending, this production made me want Eliza and Higgins to figure out a way to work it out and be together more than any other but really that ending was the only one that makes sense for this production especially given how the scene before, during, and after “Without You” was played.

 

ETA:

Also, the scene where Eliza goes back to Covent Garden after “Show Me” I thought was well directed and played by Jordan Donica (Freddy). He’s not just cluelessly watching but you see the wheels turning in his head as he’s figuring out who’s Eliza actually is and where she came from. I found myself focusing on Freddy during that part and the way played that scene from being on the other side of the gate to meeting Alfred Doolittle was like he was having an internal monologue and making a decision about Eliza. The line about if she’s done there sound less confused as to what they were doing there and being in a hurry to get out of there and more like a real question. 

I also liked the moment they gave between Norbert and Lauren during that scene when Alfred sees Freddy with her as well.  

Updated On: 3/22/18 at 11:21 PM

[ljay889]

Posted: 3/22/18 at 12:43am

ScottyDoesn'tKnow2 said: "AI have to say about Lauren’s singing, I think it’s mostly an acting choice because when she hit that last note in “I Could Have Dances all Night” the audience erupted. Not only was it well earned but it seemed like the first time Eliza really and truly spoke in her true voice that has been inside of her all her life. It was a brilliant choice I felt. "

This is spot on, and exactly how I felt! She finally lets her voice sore in that moment, and it makes total sense for the character. 

[BroadwayConcierge]

Posted: 3/22/18 at 12:46am

I'm still resting on my thoughts from seeing the show a few days ago before I post something lengthier, but I want to chime in to say that Harry Hadden-Paton hasn't been spoken about nearly enough on here. He is an extraordinary Higgins. I'll be rooting for him for the Tony. 

[ScottyDoesn'tKnow2]

Posted: 3/22/18 at 12:53am

BroadwayConcierge said: "I'm still resting on my thoughts from seeing the show a few days ago before I post something lengthier, but I want to chime in to say that Harry Hadden-Paton hasn't been spoken about nearly enough on here. He is an extraordinary Higgins. I'll be rootingfor him for the Tony."

I agree completely. Hadden-Paton was amazing in Act II especially and his rendition of “Ive Grown Accustomed to her Face” is by far my favorite rendition I’ve ever heard. He acts the hell out of it too and gives it so much nuance and layers but also goes all out.

One more thing about Ambrose’s Eliza, I came away with it feeling like there was a choice made where her Eliza has a lot of hidden passion and feeling that she’s repressing throughout Act I until she lets it out. She’s clearly an Eliza that was already yearning for something even before she met Higgins but she didn’t know what it was but  knows that whatever it is it includes love and a warm house. I think it works so well because it brings home the point that it wasn’t just any girl (whether she came from the street or not) that was experimented on and succeeded and gave Higgins back what he gave her, but it was Eliza. That whole blasted thing only worked because of Eliza and who she was before stepping into his house.

Updated On: 3/22/18 at 12:53 AM

[SmoothLover]

Posted: 3/22/18 at 1:02am

I saw the matinee today and I thought all of the elements were there it just needs a few more weeks of previews to sharpen itself. Sher and his actors have done the work, they just need to trust themselves and their intuitions. It is to no ones surprise a three dimensional approach which is appropriate. Ambrose has made smart acting choices, she just needs to pick up her cues and pump up the volume on her vocals maintaining the nuance and interpretation. Patton was kind of adorable and he too had made wise acting decisions. He upstaged himself from time to time although I thought other actors were guilty of the same partly due to a mix of thrust and proscenium staging. He actually had some sex appeal without realizing it which was kind of sweet. The shades were a nice touch.

I really liked the curved staircase in the study and it was wisely. I also thought the staging for Get Me To The Church was spot on. I am willing to bet it will be the chosen number for the Tony Awards. Turning it into a bachelor party was a clear and creative choice.

I think there is a bit of a challenge in terms of the book because time moves forward briskly and we see bits and pieces of character transitions and relationships and then witness the results or hear about them in future scenes. I felt like I was missing out on something and it made me care less about the relationship between the two leads. Perhaps Pygmalion is more successful in that way.

I also feel that every actor on the stage needs to speak with great clarity particularly when using an accent. Once you can't understand what someone is saying or hear them , it takes you out of the play and you start thinking about the length of the play or what you will be making yourself for dinner. But all in all I think the Beaumont has a hit on their hands...The flow of the entire production needs work and there is more humor to be found...

 

 

 

[BeNice]

Posted: 3/22/18 at 1:27am

I've always felt Bart Sher sacrifices a lot of the jokes and humor in his revivals for the sake of his signature realness and grittiness. I particularly felt this was true with his Fiddler. 

[BroadwayConcierge]

Posted: 3/22/18 at 1:29am

Okay, My Fair Lady. I see you.

This production is sublime. I've known since they announced it a year ago that Bart Sher's My Fair Lady in the Vivian Beaumont at Lincoln Center would be iconic. And it truly is. 

The show looks and sounds sensational. The orchestra is full and vibrant, and Marc Salzberg deserves the Sound Design Tony just for the horses galloping literally over the audience alone. I feel like The King and I's iconic visual moment was the monstrous boat sweeping out over the stage—and you get a similar moment when you arrive at Higgins' home for the first time. Jaw-dropping.

As for performances...

Norbert is a total lock for the Featured Actor Tony this year. His relationship with Eliza is captivating, and "Get Me to the Church on Time" is a production number for the ages. 

It was a privilege to see Diana Rigg on stage. She doesn't have a tremendously grand or melodramatic entrance, but you feel the audience's collective reverence for her during her entrance applause. Perfectly cast as Mrs. Higgins.

Jordan Donica's "On the Street Where You Live" was perhaps my favorite rendition of a song I've heard maybe a million times. He sounds beyond incredible. Sweet Freddy...

Give Harry Hadden-Paton the Tony for Lead Actor right now, please and thank you. The work he is doing up on that stage as Henry Higgins is sensational. At intermission, I was very impressed with him. But his descent into fury and semi-attempted but totally failed reconciliation with Eliza during Act II is beyond stunning. A fantastic performance.

Lauren Ambrose had a big impact on me as Eliza Doolittle. To me, she was a thrilling Eliza because I didn't know what to expect next. I kept thinking about our yearlong thread dream-casting a million Elizas, and how I could already vividly imagine what each of those actresses would have done in the role. Lauren is so unique. Her Eliza is introspective. I totally believe that she consciously decided to start on a somewhat subtler note before building up to what was honestly a transcendent ending of "I Could've Danced All Night." Just watching her face in the background of "You Did It" was like taking an intimate mental journey with Eliza. And she absolutely nailed the comedy during the racecourse scene. (Actually, the more I write about her, the more I realize how brilliant her performance was. Personally, I would still give the Tony to Katrina Lenk, but Ambrose delivered a highly Tony-worthy performance which will stay with me.) 

Worth pointing out that Harry and Lauren have exceptional chemistry. Their scenes together fly by with lightning speed. Special mention to their dueling during the "Without You" scene. Just riveting. 

As for the ending...

 

Click Here To Toggle Spoiler Content

...it makes total, complete sense, I absolutely loved it, and people who didn't can bite me. I had real goosebumps during those final few moments. Higgins' blank, stony "Where the devil are my slippers?," followed by what must have been 30 full seconds of silence as Eliza walks toward him (with Ambrose delivering a master class in acting with her face alone) before reaching out to him in simultaneous disappointment and acceptance as the orchestra swells and she turns away and leaves... UGH. Just SO good and SO moving.

This is truly a production about the text and about the performances. Little did we know when we spent a year dream-casting our Eliza and Higgins that we didn't need big-time celebrity names to allow Sher to bring forth stunning performances and a nuanced, thoughtful revisiting of this funny and deeply moving text.

I will be revisiting. Many times. 

[Musical Master]

Posted: 3/22/18 at 1:48am

That was quite a loverly review BroadwayConcierge. Where would you rank this production amongst Bartlett Sher's musical revival productions (Fiddler included)?

[ScottyDoesn'tKnow2]

Posted: 3/22/18 at 1:49am

BeNice said: "I've always felt Bart Sher sacrifices a lot of the jokes and humor in his revivals for the sake of his signature realness and grittiness. I particularly felt this was true withhis Fiddler."

I felt the same was true in The King and I as well. There were a lot of lines that could have landed in a much more humorous way but rather than do that, Sher wants to go for a more natural, real direction and that pays off in different ways.

BroadwayConcierge, I am in love with your post because you really hit the nail on the head with me. I want to see this again months from now where the actors and the production are sure to really hit their mark. I will be so rooting for Harry Hadden-Paton for that Tony as he is incredible as Higgins. Lauren Ambrose is a performance that will just stay with me and the more I think about what she gave to Eliza the more I realize what an amazing job she did. I think her slow burn approach to Eliza is also deserving of a Tony. One thing I might disagree with you a bit is that I wasn't feeling Norbert during "Little Bit of Luck" nor with his scene with Higgins in Act I (I think I'm so married to Stanley Holloway's portrayal that it's hard for me to see it played in a different way) but he really got me in Act II during his reunion scene with Eliza, seeing Freddy, and then "I'm Getting Married in the Morning" was a total home run.

Updated On: 3/22/18 at 01:49 AM

[Danielle49]

Posted: 3/22/18 at 1:55am

SmoothLover said: "I saw the matinee today and I thought all of the elements were there it just needs a few more weeks of previews to sharpen itself. Sher and his actors have done the work, they just need to trust themselves and their intuitions. It is to no ones surprise a three dimensional approach which is appropriate. Ambrose has made smart acting choices, she just needs to pick up her cues and pump up the volume on her vocals maintaining the nuance and interpretation. Patton was kind of adorable and he too had made wise acting decisions. He upstaged himself from time to time although I thought other actors were guilty of the same partly due to a mix of thrust and proscenium staging. He actually had some sex appeal without realizing it which was kind of sweet. The shades were a nice touch.

...The flow of the entire production needs work and there is more humor to be found...

"

Completely agree with all of this. This is the most earnest I've seen the two leads played. Lauren Ambrose is a lovely Eliza - a unique interpretation that really works here. I know some folks don't agree but I thought her voice was great - more volume would be nice and I'd love to see her tap into that humor a bit more. I appreciate that she doesn't equate Eliza's accent to emptyheadedness. Her Eliza is intelligent, yearning and reserved. We really see Eliza find herself here. She really blossoms, no more true than in her beautiful "I Could've Danced All Night."

Harry Hadden-Paton was a brilliant Higgins. I couldn't take my eyes off of him - as you've noted, he does have an unknowing attractiveness and appeal, but more to the point: tonight literally a reaction grin from him got an applause break during the horse race scene. Every time I'd assume we'd be seeing Leslie Howard line readings, he'd add a surprising new layer to a line. The best way I can describe it is subtly and intricately charming, and then of course we see him spiral in Act 2. Someone else said that his '"I've Grown Accustomed to Her Face" was the best they'd heard and I agree 100%. There's so much nuance in what he's doing, and this is the first time I've actually sympathized with Higgins.

I will say that their more naturalistic performances at times feel out of place alongside the broader parts of the show. They're only a week into previews, so at this point it's clear the production needs some shaping. Lots of props were dropped tonight, some buttons on songs didn't land, cues weren't picked up quickly enough, transitions deflated some moments. These are all tiny things that I'm confident will be smoothed out over the next few weeks.
 

Updated On: 3/22/18 at 01:55 AM

[DivaDiana]

Posted: 3/22/18 at 8:00am

For those who were there at the matinee yesterday, did Lauren go up on her lines during the Ascot scene? There was a long pause and then she said, "Help!" There was another pause and it sounded like someone offstage was feeding her the line. Another pause and then what seemed like some convoluted dialogue before they got back on track.  

I have to say I was completely won over by the production and the entire cast. And I have to say I thought Lauren was a revelation. 

[henrikegerman]

Posted: 3/22/18 at 8:24am

^Diva, I wasn't there but someone else posted on one of the MFL threads of having been there and of Ambrose having gone up on lines in the Ascot scene; and also of Rigg gamely and graciously helping her through it.

The more I read advance reviews of this production here, both pro and con, the more interested I am in what Sher and company are up to with this production.  An intrigue perhaps more akin to seeing a brand new musical based on a story I love rather than that for a typical revival of a classic musical.  The more I read these posts the more I feel myself free of expectations - curiously, one would think it might be the opposite.  But it isn't because so many seem to be coming away from this show with exact opposite impressions (case in point:  Ambrose's singing is amazing ("who knew?! she could sing like that"  but her acting is tentative -v- her acting is impeccable but she needs a vocal coach / the ending is a travesty -v- the ending is perfection - REMINDER: THERE IS A SEPARATE THREAD ON THAT POINT!).  I feel I have no choice but to free myself of all expectations based not only on these impressions of this revival but on my own preconceptions (built over a lifetime of theatre and moviegoing and growing up and growing old with L&L's songs in my head) of MY FAIR LADY (as well as PYGMALION) and see this revival as a completely new theatrical experience (to the extent that's possible).

Please keep them coming.

Updated On: 3/22/18 at 08:24 AM

[MCfan2]

Posted: 3/22/18 at 9:26am

SmoothLover, what do you mean by "upstaged himself"?

[poisonivy2]

Posted: 3/22/18 at 9:35am

DivaDiana said: "For those who were there at the matinee yesterday, did Lauren go up on her lines during the Ascot scene? There was a long pause and then she said, "Help!" There was another pause and it sounded like someone offstage was feeding her the line. Another pause and then what seemed like some convoluted dialogue before they got back on track.

I have to say I was completely won over by the production and the entire cast. And I have to say I thought Lauren was a revelation."

Yes she completely went up on lines in the aunt/gin/hat pin/done her in monologue. The thing was Freddy also went up on lines and so both of them started sort of talking in American lingo. Instead of ""Why was you sn*ing?" Lauren said "Why were you laughing?" and then she completely skipped the part about the aunt's hat pin and "them as pinched it done her in" part. I actually thought they cut that monologue but Bart Sher confirmed during intermission that it wasn't cut, it's just that both Eliza and Freddy went up on lines during the Ascot scene.

[Loopin’theloop]

Posted: 3/22/18 at 9:43am

British people say the word laughing too but I get what you meant!

[dramamama611]

Posted: 3/22/18 at 9:50am

MCfan2 said: "SmoothLover, what do you mean by "upstaged himself"?"

 

Turned away from the audience.  (He put himself too far downstage, so he had to turn UPstage to talk to others -- usually.)  

 

[MCfan2]

Posted: 3/22/18 at 10:03am

dramamama611 said: "MCfan2 said: "SmoothLover, what do you mean by "upstaged himself"?"


Turned away from the audience. (He put himself too far downstage, so he had to turn UPstage to talk to others -- usually.)"

Oh, I see. Thanks!

[Dancingthrulife2]

Posted: 3/22/18 at 10:34am

I think Sher is trying to refit My Fair Lady into Pygmalion, which isn’t necessarily bad if you are not a purist or just looking for a fun night out. Pygmalion, IMHO, is a far superior play than My Fair Lady if you strip the music away. Not only was it groundbreaking back when Shaw wrote it, it still speaks to our time, which is still troubled by class divide, gender inequality, and stereotypes we are expected to fit into based on our nationality, sexuality, ethnicity, gender, class, shape... Higgins made Eliza a Lady, but being a lady also means Eliza has to behave in a way that smothers her fierce, carefree, independent self. What makes Eliza Eliza is her choice to dislike the lady Higgins turned her into and act it out, which is so heartbreaking yet extraordinary. Shaw’s stage directions gave so much depth and nuance to Eliza’s character, most of which unfortunately My Fair Lady throws away. My Fair Lady’s broad comic approach on Mr.Doolittle and Freddy also destroy their original purposes in Pygmalion. Freddy is a foil to Higgins, someone who genuinely treats Eliza as a human being than someone who, according to Shaw, thinks Eliza is no more important than his slippers. Mr. Doolittle’s transformation is also a manifesto on the clamp middle class morality puts on people. All of these are lost or barely evident in My Fair Lady. True, My Fair Lady was a product of its time, but how superficial it turned out to be (at least for most productions) is quite stunning. I’m sure Shaw must be spinning in his grave for a few decades. Hopefully Sher might finally give him the peace of mind.

Updated On: 3/22/18 at 10:34 AM

[poisonivy2]

Posted: 3/22/18 at 10:43am

Dancingthrulife2 said: "I think Sher is trying to refitting My Fair Lady into Pygmalion, which isn’t necessarily bad if you are not a purist or just looking for a fun night out. Pygmalion, IMHO, is far superior play than My Fair Lady if you strip the music away. Not only was it groundbreaking back when Shaw wrote it, it still speaks to our time, which is still troubled by class divide, gender inequality, and stereotypes we are expected to fit into based on our nationality, sexuality, gender, class, shape... Higgins made Eliza a Lady, but being a Lady also means Eliza has to behave in a way that smothers her fierce, carefree, independent self. What makes Eliza Eliza is her choice to dislike the lady Higgins turned her into and act it out, which is so heartbreaking yet extraordinary. Shaw’s stage directions gave so much depth and nuance to Eliza’s character, most of which unfortunately My Fair Lady throws away. My Fair Lady’s broad comic approach on Mr.Doolittle and Freddy also destroy their original purposes in Pygmalion. Freddy is a foil to Higgins, someone who genuinely treats Eliza as a human being than someone who Shaw writes thinks Eliza is no more important than his slippers. Mr. Doolittle’s transformation is also a manifesto on the clamp middle class morality puts on people. All of these are lost or barely evident in My Fair Lady. True, My Fair Lady was a product of its time, but how superficial it turned out to be (at least for most productions) is quite stunning. I’m sure Shaw must be spinning in his grave for a few decades. Hopefully Sher might finally give him the peace of mind."

I strongly disagree with this. I think MFL adheres to Shaw's dialogue to an amazing amount and the music deepens the characters. As if the case with all great musicals the score is the star. Higgins' monologues are witty and never fail to generate laughs from the audience. 

And i disagree that Sher is trying to refit MFL into Pygmalion. Other than the ending Sher follows the musical incredibly faithfully.

[BroadwayConcierge]

Posted: 3/22/18 at 10:53am

Musical Master said: "That was quite a loverly review BroadwayConcierge. Where would you rank this production amongst Bartlett Sher's musical revival productions (Fiddler included)?"

It's unquestionably on par with his Fiddler, The King and I, and South Pacific. I think Sher is Broadway's greatest musical revival director, and My Fair Lady is another addition to his pantheon of stunning productions.

[henrikegerman]

Posted: 3/22/18 at 10:58am

poisonivy2 said "And i disagree that Sher is trying to refit MFL into Pygmalion. Other than the ending Sher follows the musical incredibly faithfully."

But ironically, what seems to concern many is that, without directorial refitting, or at least judicious tweaking, of the balance of the show so that it might integrally, and ideally organically, support the modified ending, the final curtain variation (from Lerner) might prove merely tacked on, jarringly inappropriate, perhaps even dubious and pandering to current taste. 

In fact, many who have seen the show and like it have suggested that, to the contrary, Sher's modified ending is not only sublime but inevitable given the way he has directed the rest of the show, or at least the rest of Act 2. 

Whereas many who have seen the show and have misgivings about the final curtain argue that the libretto doesn't support Sher's resolution (either constitutionally or perhaps for lack of consistency on Sher's part), particularly given the sympathies the audience has for Higgins during "I've Grown Accustomed to Her Face."

Personally, I find the idea of being very sympathetic to Higgins at the end, persuaded by his potential redemption and so wanting for him to be reunited with Eliza in spite of his mistreatment of her, but still to have Eliza do what she believes she needs to do for herself (what she believes is right for herself whatever that happens to be), to be a very appealing one for MY FAIR LADY, at least in theory.   Of course, I'll reserve final judgment about how Sher handles the show including but not limited to the final curtain until I have a chance to actually see the show. 

Updated On: 3/22/18 at 10:58 AM