The evening after we saw the show in D.C., David asked me if I had ever seen a road company of a Broadway show. I told him no, but I was wrong. In 1986, I did see a touring production of "Dreamgirls," in Dallas, TX. That alone is quite a story, for another time.
Back in August of 2018, we saw the original production as done at the Vivian Beaumont in New York. It was on a rounded, thrust, arena stage, and we were right up front. The music was gorgeous, the company outstanding, especially Harry Hadden-Paton, as Higgins, who took me completely by surprise, because the Eliza of Lauren Ambrose was so memorably appalling. And Diana Rigg sparkled as Mrs. Higgins.
After almost two years, and seeing the production from the heights of the Kennedy Center, I can say what a fine staging it was. Here, a turntable, and breakaway scenery--the kind that cinematically seems to break and fall apart, while new parts fall into place--is used, and the production lacks a certain spaciousness, as it is played on a proscenium.
For the most part, the production is still the same. The company is not, and while they lack the vibrancy of the New York cast, they are all as engaging. But, best of all, with that Ambrose thing thrown to the side of the road, like the piece of musical garbage she is, this "My Fair Lady" finally has an Eliza who can really sing. Her name is Shereen Ahmed, and when she launched into "Wouldn't It Be Loverly," I knew we were in good hands. And she holds that final note on "I Could Have Danced All Night" with such aplomb, it stops the show. Lauren did not.
The most exciting moment being in a theater, seeing a full orchestra production of "My Fair Lady," is when the conductor raises his baton, and the orchestra launches into the eight opening notes of the "Overture," which always cause me to jump up and down with excitement. That moment happened here.
The show is only playing two more days. If you missed it in NYC, I would urge you to get down and buy a ticket. The only thing regrettable is that the changed ending has been kept, and I do not agree with that at all. Or there could have been a better way to stage it.
But the score and the company almost make up for it.
To hear what it was REALLY like, here is Julie performing "Wouldn't It Be Loverly." How I wished I had been at opening night on March 15, 1956, at the Mark Hellinger Theatre!!!!!!!!!!!!
But, then, I was only 16 months, old!!!!!!!!!!!!!!!!!!!!!!!!!!!
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