I just saw the third preview on Saturday, and I wasn't completely blown away, but I definitely want to come back and revisit this production after previews are over. There was a whole lot to love (get to that) and I'm hoping the rough bits settle.
The rough bits I am particularly thinking about are Eliza's singing, which just didn't do it for me. It may have been where I was sitting (orchestra E far side, thanks Linctix!) but I just didn't think there was enough power. She picked up a little steam in the second act after "Show Me," but I still wanted more out of her singing. I did however, love her acting and the book scenes where she and Higgins are sparring are electric. You believe from the start that this Eliza really is a guttersnipe, not only her speech but her affectations and posture.
Higgins is being played with a touch of Sheldon Cooper, which really drive home his immaturity and petulance, I liked his energy but his singing also left something to be desired. Somewhere between Rex Harrison's rhythmic talking and actual singing, I wanted him to just pick one. Again though, I think this will settle as the production goes on. He did forget one line in "Why Can't a Woman," he just mumbled through it and picked up on the next.
Norbert Leo Butz is having the time of his life and his joy is infectious. "I'm Getting Married in the Morning" was a showstopper. I will admit the darker tone of this piece makes Mr. Doolittle's scenes feel out of place, but it was a welcome distraction and done by a pro.
Diana Rigg is a majestic grand dame of Broadway and acts her scenes wonderfully, strong Queen of Thorns vibe when she is meeting with Eliza after she leaves Higgins.
That rotating set is an old school wonder. Sometimes you don't need to reinvent the wheel, just build the best damn wheel. The costumes were hit or miss, but I really liked the Ball costumes, they were purposefully modeled after the Aesthetic Fashion of the 1900s. Very fascinating and different, with bold colors and pattern and drapery. The horse race outfits were also standouts, instead of the all white motif they used some softer very pale purples and whites.
In all art, there is a pendulum swinging between artifice and naturalism and what is popular at the time will influence art produced. Theater seems to be on a more naturalism bend right now, and this follows in those steps. In this production Eliza and Higgins are real characters, whose flaws and triumphs are openly shown. It's not a joyful musical comedy (except for when Mr. Higgins shows up), but an exploration of self-actualization, how one achieves it, and what one does with it.
He can't help being one, and he does seem to have a kind heart. But the boy's got no get-up-and-go. He has little intelligence and even less drive. He's the kind of character who does nothing but hang around singing romantic ballads at her window all day and night . . . after ONE meeting. You could make a pretty good case that it's infatuation, not love. And no wonder that feels good for a little while -- as you all say, Eliza could certainly use a little more affection in her life. But after a while, I honestly think it would drive her crazy.
