Some people argue that musical theater cannot be translated onto film. Even Stephen Sondheim, world-renowned musical composer and self-proclaimed film buff, hates the film version of “West Side Story.” And he wrote it.
However, Lerner and Loewe’s “My Fair Lady” set the standard, winning the Oscar for Best Picture in 1964. (The original musical also won the Tony in 1956, but unfortunately, few remember it because it couldn’t be mass-produced). And at the Ahmanson Theatre, the stage version straight from London’s West End recreates the film version.
As the lights rise on the first scene outside of a London opera house, the set design with Grecian architectural columns across the stage perfectly mirrors the opening scene of the film. And before the audience can even see Professor Higgins (he’s hidden among the crowd at first), the voice of the film’s (and stage’s!) Rex Harrison can practically be heard.
Christopher Cazenove is a younger and portlier Higgins, but if you closed your eyes, you would certainly hear the remnant’s of Harrison’s legendary voice in Cazenove’s.
But why would you want to close your eyes when the pristine set design and extravagant costumes on their own make the show worth seeing? The transitions between sets were as seamless as blended film images, and the costumes at the horse race and the ball rival a vintage couture show.
The biggest marquee name, however, was not Cazenove as Higgins or Lisa O’Hare as Eliza, but Marni Nixon as Mrs. Higgins. And ironically, her stardom comes from her role as Audrey Hepburn’s singing voice in the film version. When Nixon entered, the audience erupted in applause because of their familiarity with her performance in the film, not on this stage.
Despite their mimicry of the film, most of the actors proved more than capable in their roles. O’Hare channeled Hepburn, and her vocals in “I Could Have Danced All Night” were enough to make anyone melt. Walter Charles provided comic value as Colonel Pickering, although sometimes with poor timing.
The only mediocre actor was Justin Bohon as Freddy, but his forced accent and failing ability as a potential love interest did little to deter the remaining leads from carrying the show.
However, no actor broke the film character mold as well as Tim Jerome in the role of Alfred P. Doolittle, Eliza’s father. While the film remains iconic, Jerome’s performance provided a refreshing and entertaining interpretation. And though his character is only supporting, he completely stole the show in his two numbers and even took his bow after Pickering, who appeared in far more scenes.
It was not the tap dancing with trash can lids in “With a Little Bit of Luck” or the ostentatiously dressed cancan dancers in “Get Me to the Church on Time” that made Doolittle’s songs the best numbers in the show.
Jerome’s exuding enjoyment permeated the entire audience, and even though the crashing trash cans and belting (verging on screaming) could not be muted, this type of number brings people to the theater instead of the movies.
While most of the songs were executed beautifully, the finale, “I’ve Grown Accustomed to her Face,” did not maintain the same climactic thrill as the film version. While Cazenove’s voice was close to flawless and his change in character poignantly felt, a group of ballet-dancing flower girls on stage took away from his pivotal moment of soliloquy.
But as Cazenove uttered “Where the devil are my slippers?” the classic ending came to life, proving once and for all that the emotion felt in theater cannot be rivaled by its two-dimensional counterpart.
““ Suzy Evans
E-mail Evans at sevans@media.ucla.edu.