A Program Note

We do love the Greeks. After all, what would life be without their contributions to modern society? Athens is considered the seat of democracy as well as the site of the first modern Olympic games. In addition, we are the benefactors of their inventiveness in art and theater. The musical My Fair Lady has tentacles that reach back to this ancient time of conjuring up myths to help teach us something valuable. It is a story, based on a play by George Bernard Shaw, titled Pygmalion. Shaw’s play, in turn, is based on a mythological story where a sculptor named Pygmalion carves his notion of a perfect woman out of ivory. Perfect and slight — demure and white. He falls in love with his creation and when he kisses her, she comes to life.

Fortunately, such absurdities as traits of the flawless female have been re-examined thanks to Bart Sher, the musical’s acclaimed director. Just as he reshaped the lens through which we viewed To Kill A Mockingbird, he now offers us an excitingly fresh look of a beloved work with this current tour of My Fair Lady.

We meet Eliza wrapped in her tattered garments and dirt-smeared face, selling flowers in London’s Covent Garden. She is our rough-and-tumble heroine. The dreariness of her world seems to be inescapable, whirling her toward a life of downwardly spiraling mobility.

Meanwhile, Professor Henry, on a bet, believes he can take any ragged vagabond and, with a bit of Higgins’ magic, make her pass for a lady of high society. It is as though he was remodeling his study — a little wallpaper, a new rug, fluff up the book collection and presto, all is pretty. He seems to be focused on the cosmetic and has a lack of curiosity for what is concealed beneath the dustcover.

As one would expect, the physical production of My Fair Lady is befitting our expectations of the grandeur of life found at 27A Wimpole Street. Michael Yeargen’s magnificent set design moves and spins, taking us from Higgins’ study to the ramshackle streets of the underbelly of London with fluidity. The ease with which he takes us from scene-to-scene is more than a mechanical achievement. He is illustrating the stark contrasts between poverty and wealth.

The costumes also add to the narrative. Eliza’s journey from rags to riches is dramatic and expertly captured by Catherine Zuber’s keen eye for line and color. The transformation of Eliza from flower girl to elegant gentlelady can be noted by the fabric tone and finish of the hemline of what she is wearing.

Take special note of Shereen Ahmed, the statuesque actress who is our leading lady. Fearlessly, she marched into an open audition for the Lincoln Center production in NYC, and was originally cast in the ensemble. Her flourishing career includes becoming the understudy for Eliza, ultimately going on in this legendary part and setting the stage to place her in the spotlight for this national tour.

In the scene at the Ascot races, Shereen dons a magnificent hat — a sweeping bold design appointed with feathers from exotic birds. We can all take flight with this headpiece as an early crowning achievement for her — the first of many in what will certainly be a robust career.

As an American actress of Egyptian descent, she leads us forward on our continuing journey of embracing the broad spectrum of glorious talent in the world around us.

Enjoy,

Gina Vernaci President & CEO, Playhouse Square

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