Musical (1956)

Musique: Frederik Loewe
Paroles: Alan Jay Lerner
Livret: Alan Jay Lerner
Production à la création:

Henry Higgins est un illustre professeur de phonétique. Un soir, à Covent Garden, il fait la connaissance du Colonel Pickering et d'une marchande de fleurs nommée Eliza Doolittle. Elle propose au savant de l'engager pour qu'il lui enseigne les bonnes manières et la débarrasse de son accent « cockney ». Eliza pourrait ainsi améliorer sa situation sociale. Higgins accepte le défi et accueille la jeune fille chez lui. Au terme de leçons éprouvantes, Higgins emmène son élève à Ascot puis à un bal où elle est présentée à la reine. Les convives tombent sous son charme. Zoltan Karpathy, un ancien étudiant d'Higgins, affirme qu'elle appartient à la noblesse européenne. Higgins savoure sa victoire. Son attitude blesse Eliza qui trouve refuge auprès de la mère de ce dernier.

Act I
On a rainy night in Edwardian London, the opera patrons are waiting under the arches of Covent Garden for cabs. Eliza Doolittle, a Cockney flower girl, runs into a young man called Freddy. She admonishes him for spilling her bunches of violets in the mud, but cheers up after selling one to an older gentleman. She flies into an angry outburst when she sees another man copying down her speech. The man explains that he studies phonetics and can identify any man's origin by his accent. He laments Eliza's dreadful accent, asking why so many English people can't learn to speak properly and explaining his theory that this is what truly separates social classes, rather than looks or money (Why Can't the English?). He declares that in six months, he could turn Eliza into a lady by teaching her to speak properly. The older gentleman introduces himself as Colonel Pickering, a linguist who has studied Indian dialects. The phoneticist introduces himself as Henry Higgins, and, as they both have always wanted to meet each other, Higgins invites Pickering to stay at his home in London. He distractedly throws his change in Eliza's basket, and she and her friends wonder what it would be like to live a comfortable, proper life (Wouldn't It Be Loverly?).

Eliza's father, Alfred P. Doolittle and his drinking companions Harry and Jamie, all dustmen, stop by the next morning. He is searching for money for a drink, and Eliza shares her profits with him (With a Little Bit of Luck). Pickering and Higgins are discussing vowels at Higgins's home when Mrs. Pearce, the housekeeper, informs Higgins that a young woman with a ghastly accent has come to see him. It is Eliza, who has come to take lessons to speak properly so she can get a job as an assistant in a florist's shop. Pickering wagers that Higgins cannot make good on his claim and volunteers to pay for Eliza's lessons. An intensive makeover of Eliza's speech, manners and dress begins in preparation for her appearance at the Embassy Ball. Higgins sees himself as a kindhearted, patient man who cannot get along with women (I'm an Ordinary Man). To others, he is self-absorbed and misogynistic.

It becomes evident to Alfred Doolittle that his daughter has been taken in by Professor Higgins. He decides that he may get a little money out of the dealing of his daughter (With a Little Bit of Luck [Reprise]).

Eliza's father arrives at Higgins' house the next morning, claiming that Higgins is compromising Eliza's virtue. Higgins is impressed by the man's natural gift for language and his brazen lack of moral values. He and Doolittle agree that Eliza can continue to take lessons and live at Higgins' house if Higgins gives Doolittle five pounds for a spree. Higgins flippantly recommends Doolittle to an American millionaire who is seeking a lecturer on moral values. Meanwhile, Eliza endures speech tutoring, endlessly repeating phrases like "In Hertford, Hereford and Hampshire, hurricanes hardly ever happen” (initially, the only "h" she aspirates is in "hever") and "The rain in Spain stays mainly in the plain" (to practice the "long a" phoneme). Frustrated, she dreams of different ways to kill Higgins, from sickness to drowning to a firing squad ("Just You Wait"). The servants lament the hard "work" Higgins does (The Servants' Chorus). Just as they give up, Eliza suddenly recites "The rain in Spain stays mainly in the plain" in perfect English. Higgins, Eliza, and Pickering happily dance around Higgins's study (The Rain In Spain). Thereafter her pronunciation is transformed into that of impeccable upper class English. Mrs. Pearce, the housekeeper, insists that Eliza go to bed; she declares she is too excited to sleep (I Could Have Danced All Night).

For her first public tryout, Higgins takes Eliza to his mother's box at Ascot Racecourse (Ascot Gavotte). Henry's mother reluctantly agrees to help Eliza make conversation, following Henry's advice that Eliza should stick to two subjects: the weather and everybody's health. Eliza makes a good impression at first with her polite manners but later shocks everyone by her vulgar Cockney attitudes and slang. She does, however, capture the heart of Freddy Eynsford-Hill, the young man whom she ran into in the opening scene. Freddy calls on Eliza that evening, but she refuses to see him. He declares that he will wait for her in the street outside Higgins's house (On the Street Where You Live).

The final test requires Eliza to pass as a lady at the Embassy Ball, and after weeks of preparation, she is ready. All the ladies and gentlemen at the ball admire her, and the Queen of Transylvania invites her to dance with her son, the prince (Embassy Waltz). Eliza then dances with Higgins. A rival and former student of Higgins, a Hungarian phonetician named Zoltan Karpathy, is employed by the hostess to discover Eliza's origins through her speech. Though Pickering and his mother caution him not to, Higgins allows Karpathy to dance with Eliza.

Act II
The event is revealed to have been a success and Eliza had fooled Zoltan Karpathy into believing that she is "not only Hungarian, but of royal blood. She is a princess!" After the ball, Colonel Pickering flatters Higgins about his triumph, and Higgins expresses his pleasure that the experiment is now over (You Did It). The episode leaves Eliza feeling used and abandoned. Higgins completely ignores Eliza until he mislays his slippers. He asks her where they are, and she lashes out at him, leaving the clueless professor mystified by her ingratitude. When Eliza decides to leave Higgins, he insults her in frustration and storms off. Eliza cries as she prepares to leave (Just You Wait [Reprise]). She finds Freddy still waiting outside (On the Street Where You Live [Reprise]). He begins to tell her how much he loves her, but she cuts him off, telling him that she has heard enough words; if he really loves her, he should show it ("Show Me"). She and Freddy return to Covent Garden, where her friends do not recognize her refined bearing (The Flower Market/Wouldn't It Be Loverly? [Reprise]). By chance, her father is there as well, dressed in a fine suit. He explains that he received a surprise bequest of four thousand pounds a year from the American millionaire, which has raised him to middle-class respectability, and now he must marry Eliza's "stepmother", the woman he has been living with for many years. Eliza sees that she no longer belongs in Covent Garden, and she and Freddy depart. Doolittle and his friends have one last spree before the wedding (Get Me to the Church on Time).

Higgins awakens the next morning to find that, without Eliza, he has tea instead of coffee, and he cannot find his own files. He wonders why she left after the triumph at the ball and concludes that men (especially himself) are far superior to women (A Hymn to Him). Pickering, becoming annoyed with Higgins, leaves to stay with his friend at the Home Office. Higgins seeks his mother's advice and finds Eliza having tea with her. Higgins's mother leaves Higgins and Eliza together. Eliza explains that Higgins has always treated her as a flower girl, but she learned to be a lady because Colonel Pickering treated her like a lady. Higgins claims he treated her the same way that Pickering did because both Higgins and Pickering treat all women alike. Eliza accuses him of wanting her only to fetch and carry for him, saying that she will marry Freddy because he loves her. She declares that she does not need Higgins any more, saying that she was foolish to think that she needed him (Without You). Higgins is struck by Eliza's spirit and independence and wants her to stay with him, but she tells him that he will not see her again.

As Higgins walks home, he realizes he's grown attached to Eliza (I've Grown Accustomed to Her Face). He cannot bring himself to confess that he loves her and insists that if she marries Freddy and then comes back to him, he will not accept her. However, he finds it difficult to imagine being alone again. He reviews the recording he made of the morning Eliza first came to him for lessons. He hears his own harsh words: "She's so deliciously low! So horribly dirty!" Then the phonograph turns off, and a real voice speaks in a Cockney accent: "I washed me face an' 'ands before I come, I did". Henry hears Eliza, who is standing in the doorway, tentatively returning to him. The musical ends on an ambiguous moment of possible reconciliation between teacher and pupil, as Higgins slouches and asks, "Eliza, where the devil are my slippers?"

Depuis sa création ily a presque 50 ans, l'ascension sociale de Eliza Dolittle continue d'enchanter les foules et symbolise l'âge d'or du musical anglo-saxon.

1 My Fair Lady peut-être considéré comme un Top musical

In the mid-1930s, film producer Gabriel Pascal acquired the rights to produce film versions of several of George Bernard Shaw's plays, Pygmalion among them. However, Shaw, having had a bad experience with The Chocolate Soldier, a Viennese operetta based on his play Arms and the Man, refused permission for Pygmalion to be adapted into a musical. After Shaw died in 1950, Pascal asked lyricist Alan Jay Lerner to write the musical adaptation. Lerner agreed, and he and his partner Frederick Loewe began work. They quickly realized, however, that the play violated several key rules for constructing a musical: the main story was not a love story, there was no subplot or secondary love story, and there was no place for an ensemble. Many people, including Oscar Hammerstein II, who, with Richard Rodgers, had also tried his hand at adapting Pygmalion into a musical and had given up, told Lerner that converting the play to a musical was impossible, so he and Loewe abandoned the project for two years.

During this time, the collaborators separated, and Gabriel Pascal died. Lerner had been trying to musicalize Li'l Abner when he read Pascal's obituary and found himself thinking about Pygmalion again. When he and Loewe reunited, everything fell into place. All the insurmountable obstacles that stood in their way two years earlier disappeared when the team realized that the play needed few changes apart from (according to Lerner) "adding the action that took place between the acts of the play". They then excitedly began writing the show. However, Chase Manhattan Bank was in charge of Pascal's estate, and the musical rights to Pygmalion were sought both by Lerner and Loewe and by MGM, whose executives called Lerner to discourage him from challenging the studio. Loewe said, "We will write the show without the rights, and when the time comes for them to decide who is to get them, we will be so far ahead of everyone else that they will be forced to give them to us". For five months Lerner and Loewe wrote, hired technical designers, and made casting decisions. The bank, in the end, granted them the musical rights.

Noël Coward was the first to be offered the role of Henry Higgins but turned it down, suggesting the producers cast Rex Harrison instead. After much deliberation, Harrison agreed to accept the part. Mary Martin was an early choice for the role of Eliza Doolittle, but declined the role. Young actress Julie Andrews was "discovered" and cast as Eliza Doolittle after the show's creative team went to see her Broadway debut in The Boy Friend. Moss Hart agreed to direct after hearing only two songs. The experienced orchestrators Robert Russell Bennett and Philip J. Lang were entrusted with the arrangements and the show quickly went into rehearsal.

The musical's script used several scenes that Shaw had written especially for the 1938 film version of Pygmalion, including the Embassy Ball sequence and the final scene of the 1938 film rather than the ending for Shaw's original play. The montage showing Eliza's lessons was also expanded, combining both Lerner and Shaw's dialogue. The show's title relates to one of Shaw's provisional titles for Pygmalion, Fair Eliza, and to the final line of every verse of the nursery rhyme "London Bridge Is Falling Down". The artwork on the original Playbill (and sleeve of the cast recording) is by Al Hirschfeld, who drew the playwright Shaw as a heavenly puppetmaster pulling the strings on the Henry Higgins character, while Higgins in turn attempts to control Eliza Doolittle.

Original Broadway production
The musical had its pre-Broadway tryout at New Haven's Shubert Theatre. On opening night Rex Harrison, who was unaccustomed to singing in front of a live orchestra, "announced that under no circumstances would he go on that night...with those thirty-two interlopers in the pit". He locked himself in his dressing room and came out little more than an hour before curtain time. The whole company had been dismissed but were recalled, and opening night was a success. The musical then played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.

The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962 after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton. Edward Mulhare and Sally Ann Howes replaced Harrison and Andrews later in the run. The Original Cast Recording went on to become the best-selling album in the country in 1956. The original costumes were designed by Cecil Beaton and are on display at the Costume World Broadway Collection in Pompano Beach, Florida, along with many of the original patterns.

Original London production
The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and one-half years (2,281 performances). Stage star Zena Dare made her last appearance in the musical as Mrs. Higgins.

1970s revivals
The first revival opened at the St. James Theatre on Broadway on March 25, 1976 and ran there until December 5, 1976; it then transferred to the Lunt-Fontanne Theatre, running from December 9, 1976 until it closed on February 20, 1977, after a total of 377 performances and 7 previews. The director was Jerry Adler, with choreography by Crandall Diehl, based on the original choreography by Hanya Holm. Ian Richardson starred as Higgins, with Christine Andreas as Eliza, George Rose as Alfred P. Doolittle and Robert Coote recreating his role as Pickering. Both Richardson and Rose were nominated for the Tony Award for Best Actor in a Musical, with the award going to Rose.

A London revival opened at the Adelphi Theatre in October 1979, with Tony Britton as Higgins, Liz Robertson as Eliza, Dame Anna Neagle as Higgins' mother, Peter Bayliss, Richard Caldicot and Peter Land. Cameron Mackintosh produced with Robin Midgley directing the national tour, while Alan Jay Lerner directed into the West End. Gillian Lynne choreographed. Britton and Robertson were both nominated for Olivier Awards.

1981 and 1993 Broadway revivals
A revival opened at the Uris Theatre on August 18, 1981 and closed on November 29, 1981 after 120 performances and 4 previews. Rex Harrison recreated his role as Higgins, with Jack Gwillim and Milo O'Shea co-starring and Nancy Ringham as Eliza. The director was Patrick Garland, with choreography by Crandall Diehl.

Another revival opened at the Virginia Theatre on December 9, 1993 and closed on May 1, 1994 after 165 performances and 16 previews. Directed by Howard Davies, with choreography by Donald Saddler, the cast starred Richard Chamberlain, Melissa Errico and Paxton Whitehead. Julian Holloway, son of Stanley Holloway, recreated his father's role of Alfred P. Doolittle.

2001 London revival; 2003 Hollywood Bowl production
Mackintosh produced a new production on March 15, 2001 at the Royal National Theatre, which transferred to the Theatre Royal, Drury Lane on July 21. Directed by Trevor Nunn, with choreography by Matthew Bourne, the musical starred Martine McCutcheon as Eliza and Jonathan Pryce as Higgins. This revival won three Olivier Awards: Outstanding Musical Production, Best Actress in a Musical (Martine McCutcheon) and Best Theatre Choreographer (Matthew Bourne), with Anthony Ward receiving a nomination for Set Design. Ironically, McCutcheon won the award despite being off sick for most of her eight-month run. In December 2001 Joanna Riding took over the role of Eliza and in May 2002 Alex Jennings took over as Higgins, both winning Olivier Awards for Best Actor and Best Actress in a Musical respectively in 2003. In March 2003, Anthony Andrews and Laura Michelle Kelly took over the roles until the show closed on August 30, 2003.

A UK tour of this production began September 28, 2005. The production starred Amy Nuttall and Lisa O'Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Alfred Doolittle, and Honor Blackman[28] and Hannah Gordon as Mrs. Higgins. The tour ended August 12, 2006.

In 2003 a production of the musical at the Hollywood Bowl starred John Lithgow as Henry Higgins, Melissa Errico as Eliza Doolittle, Roger Daltrey as Alfred P. Doolittle and Paxton Whitehead as Colonel Pickering.[30]

Act I
Overture – The Orchestra
Busker Sequence – The Orchestra
Why Can't the English? – Professor Higgins
Wouldn't It Be Loverly? – Eliza and Male Quartet
With a Little Bit of Luck – Alfred Doolittle, Harry, and Jamie
I'm an Ordinary Man – Professor Higgins
With a Little Bit of Luck (Reprise) – Alfred Doolittle and Ensemble
Just You Wait – Eliza
The Servants' Chorus (Poor Professor Higgins) – Mrs. Pearce and Servants
The Rain in Spain – Professor Higgins, Eliza, and Colonel Pickering
I Could Have Danced All Night – Eliza, Mrs. Pearce, and Servants
Ascot Gavotte – Ensemble
On the Street Where You Live – Freddy
Eliza's Entrance/Embassy Waltz – The Orchestra

Act II
You Did It – Colonel Pickering, Professor Higgins, Mrs. Pearce, and Servants
Just You Wait (Reprise) – Eliza
On the Street Where You Live (Reprise) – Freddy
Show Me – Eliza and Freddy
The Flower Market/Wouldn't It Be Loverly? (Reprise) – Eliza and Male Quartet
Get Me to the Church on Time – Alfred Doolittle and Ensemble
A Hymn to Him – Professor Higgins and Colonel Pickering
Without You – Eliza and Professor Higgins
I've Grown Accustomed to Her Face – Professor Higgins
Finale – The Orchestra

Aucun dossier informatif complémentaire concernant My Fair Lady

Aucun dossier informatif complémentaire concernant My Fair Lady

Version 1

My Fair Lady (1956-03-Broadway Run-Broadway)

Type de série: Original
Théâtre: Broadway Run (Broadway - Etats-Unis)
Durée : 6 ans 6 mois 1 semaine
Nombre : 2717 représentations
Première Preview : Inconnu
Première: 25 March 1956
Dernière: 29 September 1962
Mise en scène : Moss Hart
Chorégraphie : Hanya Holm
Producteur :

Version 2

My Fair Lady (1958-04-August Wilson Theatre-London)

Type de série: Original London
Théâtre: Drury Lane Theatre (Londres - Angleterre)
Durée :
Nombre : 2281 représentations
Première Preview : 30 April 1958
Première: 30 April 1958
Dernière: Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 3

My Fair Lady (1963-09-Theater an der Wien-London)

Type de série: Revival
Théâtre: Theater an der Wien (Vienne - Autriche)
Durée :
Nombre : 112 représentations
Première Preview : 19 September 1963
Première: 19 September 1963
Dernière: Inconnu
Mise en scène :
Chorégraphie :
Producteur :

Version 4

My Fair Lady (1969-11-Theater an der Wien-Vienne)

Type de série: Revival
Théâtre: Theater an der Wien (Vienne - Autriche)
Durée :
Nombre : 148 représentations
Première Preview : 18 November 1969
Première: 18 November 1969
Dernière: Inconnu
Mise en scène : Rolf Kutschera
Chorégraphie : William Milié
Producteur :

Version 5

My Fair Lady (1976-03-Broadway Run 2)

Type de série: Revival
Théâtre: Broadway Run (Broadway - Etats-Unis)
Durée : 11 mois
Nombre : 7 previews - 377 représentations
Première Preview : 19 March 1976
Première: 25 March 1976
Dernière: 20 February 1977
Mise en scène : Jerry Addler
Chorégraphie : Crandall Diehl
Producteur :

Version 6

My Fair Lady (1976-03-Broadway Run 2-St James Theatre Broadway)

Type de série: Revival
Théâtre: St. James Theatre (Broadway - Etats-Unis)
Durée : 8 mois 2 semaines
Nombre : 7 previews - 377 représentations
Première Preview : 19 March 1976
Première: 25 March 1976
Dernière: 05 December 1976
Mise en scène : Jerry Addler
Chorégraphie : Crandall Diehl
Producteur :

Version 7

My Fair Lady (1976-12-Broadway Run 2-Lunt Fontanne Theatre Broadway)

Type de série: Revival
Théâtre: Lunt-Fontanne Theatre (Broadway - Etats-Unis)
Durée : 2 mois 1 semaine
Nombre : 7 previews - 377 représentations
Première Preview : 09 December 1976
Première: 09 December 1976
Dernière: 20 February 1977
Mise en scène : Jerry Addler
Chorégraphie : Crandall Diehl
Producteur :

Version 8

My Fair Lady (1979-10-Adelphi Theatre-London)

Type de série: UK Revival
Théâtre: Adelphi Theatre (Londres - Angleterre)
Durée : 2 ans 1 semaine
Nombre : 891 représentations
Première Preview : Inconnu
Première: 25 October 1979
Dernière: 31 October 1981
Mise en scène : Robin Midgley
Chorégraphie : Gillian Lynne
Producteur :
Avec : Tony Britton (Henry Higgins), Liz Robertson (Eliza Doolittle), Peter Bayliss (Alfred P. Doolittle), Richard Caldicott (Colonel Pickering), Anna Neagle (Mrs Higgins), Peter Land (Freddy Eynsford-Hill)
Commentaires : This production was created at Leicester Haymarket under the management of Cameron Mackintosh who, with Arts Council support, was determined to created regional touring product of the highest quality—so that “West End shows” would be available to provincial theatres with no drop in standards. When the show arrived in the West End the critics felt it was equally as good as first time round.

Version 9

My Fair Lady (1981-08-Uris Theatre-London)

Type de série: Revival
Théâtre: Gershwin Theatre (Broadway - Etats-Unis)
Durée : 3 mois 1 semaine
Nombre : 4 previews - 120 représentations
Première Preview : 14 August 1981
Première: 18 August 1981
Dernière: 29 November 1981
Mise en scène : Patrick Garland
Chorégraphie : Crandall Diehl
Producteur :

Version 10

My Fair Lady (1993-12-August Wilson Theatre-London)

Type de série: Revival
Théâtre: August Wilson Theatre (Broadway - Etats-Unis)
Durée : 4 mois 3 semaines
Nombre : 16 previews - 165 représentations
Première Preview : 26 November 1993
Première: 09 December 1993
Dernière: 01 May 1994
Mise en scène : Howard Davies
Chorégraphie : Donald Saddler
Producteur :

Version 11

My Fair Lady (2001-03-Lyttelton Theatre-NT-London)

Type de série: Revival
Théâtre: National Theatre (Londres - Angleterre)
Salle : Lyttelton Theatre
Durée : 3 mois 2 semaines
Nombre : 133 représentations
Première Preview : 05 March 2001
Première: 15 March 2001
Dernière: 30 June 2001
Mise en scène : Trevor Nunn
Chorégraphie : Matthew Bourne
Producteur :
Commentaires : Transféré au Drury Lane en juillet 2001

Version 12

My Fair Lady (2001-07-Drury Lane Theatre-London)

Type de série: Revival
Théâtre: Drury Lane Theatre (Londres - Angleterre)
Durée : 2 ans 1 mois 1 semaine
Nombre : 873 représentations
Première Preview : 21 July 2001
Première: 21 July 2001
Dernière: 30 August 2003
Mise en scène : Trevor Nunn
Chorégraphie : Matthew Bourne
Producteur :
Avec : Jonathan Pryce (Henry Higgins), Martine McCutcheon (Eliza Doolittle), Dennis Waterman (Alfred P. Doolittle), Nicholas Le Prevost (Colonel Pickering), Caroline Blakiston (Mrs Higgins), Mark Umbers (Freddy Eynsford-Hill), Patsy Rowlands (Mrs Pearce), Jill Martin, Sevan Stephan, Ann Emery
Commentaires : This hugely-praised revival won four Olivier Awards, including Best Musical, and awards for Martine McCutcheon and Matthew Bourne. From the outset Martine McCutcheon was plagued with throat problems, and very frequently missed performances, being replaced (to much acclaim!) by her understudy, Alexandra Jay. By December, with five months left on her contract, it was clear that Martine McCutcheon could not continue, and she was replaced with Joanna Riding (who went on to win a further Olivier Award for the show as Best Actress in a Musical in 2003). The show ran two years at Drury Lane, finishing at the end of August, 2003. (It was revived for a 12 city UK tour in September 2005, ending in August 2006. This tour starred Amy Nuttall and Lisa O’Hare as Eliza, Christopher Cazenove as Henry Higgins, Russ Abbot and Gareth Hale as Doolittle, and Honor Blackman and Hannah Gordon as Mrs Higgins.)
Commentaires longs: Reprise de la version My Fair Lady (2001-03-Lyttelton Theatre (NT)-London)
Presse : NICHOLAS DE JONGH for THE EVENING STANDARD describes Martine McCutcheon's performance as 'marvellous" and describes the show as "fairly magical".

SHERIDAN MORLEY for TELETEXT says the show is "sharp and sturdy".He goes on to say, "Matthew Bourne's choreography is brilliant.."

MICHAEL COVENEY for THE DAILY MAIL, describes McCutcheon's performance as "bubbly, bright and immensely endearing". He goes on to say, "In Jonathan Pryce's Higgins we have a major performance by a major actor." He finishes with describing the show as "Wonderfully theatrical."

CHARLES SPENCER for THE DAILY TELEGRAPH says, "Pryce combines commanding authority with charm and delivers the songs with far more panache than Rex Harrison." He goes on to say, "The night belongs to McCutcheon."

BENEDICT NIGHTINGALE for THE TIMES says, "A success to rival the National's Oklahoma!."

MICHAEL BILLINGTON for THE GUARDIAN says, "The first half of the evening is shamelessly enjoyable. But after the interval, doubts crowd in about the show and the production."

ROBERT GORE-LANGTON for THE DAILY EXPRESS says, "It's effortlessly enjoyable."

RHODA KOENIG for THE INDEPENDENT says, "Trevor Nunn's show crackles like a house on fire."

Version 13

My Fair Lady (2005-09-UK Tour)

Type de série: Revival
Théâtre: UK Tour ( - Angleterre)
Durée : 10 mois 2 semaines
Nombre :
Première Preview : 28 September 2005
Première: 28 September 2005
Dernière: 12 August 2006
Mise en scène : Trevor Nunn
Chorégraphie : Matthew Bourne
Producteur :
Commentaires longs: Reprise de la version My Fair Lady (2001-03-Lyttelton Theatre (NT)-London) qui s'est poursuivie au Théatre Royal Drury Lane avant de partir dans cet UK Tour.
Presse : NICHOLAS DE JONGH for THE EVENING STANDARD describes Martine McCutcheon's performance as 'marvellous" and describes the show as "fairly magical". SHERIDAN MORLEY for TELETEXT says the show is "sharp and sturdy".He goes on to say, "Matthew Bourne's choreography is brilliant.." MICHAEL COVENEY for THE DAILY MAIL, describes McCutcheon's performance as "bubbly, bright and immensely endearing". He goes on to say, "In Jonathan Pryce's Higgins we have a major performance by a major actor." He finishes with describing the show as "Wonderfully theatrical." CHARLES SPENCER for THE DAILY TELEGRAPH says, "Pryce combines commanding authority with charm and delivers the songs with far more panache than Rex Harrison." He goes on to say, "The night belongs to McCutcheon." BENEDICT NIGHTINGALE for THE TIMES says, "A success to rival the National's Oklahoma!." MICHAEL BILLINGTON for THE GUARDIAN says, "The first half of the evening is shamelessly enjoyable. But after the interval, doubts crowd in about the show and the production." ROBERT GORE-LANGTON for THE DAILY EXPRESS says, "It's effortlessly enjoyable." RHODA KOENIG for THE INDEPENDENT says, "Trevor Nunn's show crackles like a house on fire."

Version 14

My Fair Lady (2007-09-US Tour)

Type de série: Revival
Théâtre: US Tour ( - Etats-Unis)
Durée : 9 mois 2 semaines
Nombre :
Première Preview : 12 September 2007
Première: 12 September 2007
Dernière: 22 June 2008
Mise en scène : Trevor Nunn
Chorégraphie : Matthew Bourne
Producteur :

Version 15

My Fair Lady (2010-12-Théâtre du Châtelet-Paris)

Type de série: Revival
Théâtre: Théâtre du Châtelet (Paris - France)
Durée : 3 semaines
Nombre :
Première Preview : 09 December 2010
Première: 09 December 2010
Dernière: 02 January 2001
Mise en scène : Robert Carsen
Chorégraphie : Lynn Page
Producteur :
Avec : Sarah Gabriel (Eliza Doolittle) ou Christine Arand, Alex Jennings (Henry Higgins), Margaret Tyzack (Mrs. Higgins), Nicholas Le Prévost (Colonel Pickering), Donald Maxwell (Alfred Doolittle), Jenny Galloway (Mrs. Pearce), Ed Lyon (Freddy Eynsford-Hill),ou Pascal Charbonneau, Geoffrey Abbott (Harry, Charles), John C. Bernard (1st cockney), Simon Butteriss (Zolthan Karpathy, 3rd cockney), Anna Cottis (Mrs Higgins’s maid), Steve Devereaux (George the bartender), Jeremy Finch (Jamie), Philip James Glenister (4th cockney), Jane How (Mrs Eynsford-Hill), Frances Jeater (Mrs Hopkins, maid), Graham Stone (2nd cockney), Nuala Willis (Queen of Transylvania, maid)

Version 16

My Fair lady (2012-06-Plays-in-the-Park-Edison)

Type de série: Revival
Théâtre: Plays-in-the-Park (Edison - Etats-Unis)
Durée : 1 semaine
Nombre :
Première Preview : 20 June 2012
Première: 20 June 2012
Dernière: 30 June 2012
Mise en scène : Gary P. Cohen
Chorégraphie : Michelle Massa
Producteur :
Avec : Tamara Hayes (Eliza Doolittle), David Cantor (Henry Higgins), Art Vandalay (Alfred Doolittle), Michael Mccunney (Colonel Pickering), Nancy Drumright (Mrs. Higgins), Joe Riley (Freddie Eynsford-Hill), Suzanne Lawrence (Mrs. Pearce), Arlene Britt (Mrs. Eynsford-Hill), Bob Nutter (Harry), Jack Cibrian (Jamie), Mike Kertesz (Lord Boxington), Doris Younken (Lady Boxington), Kelly Baldwin, Phillip Barrood, Robert P. Brown, Lauren Campbell, Kirk Geritano, Patrick Getty, Danielle Gruskiewicz, Allyson Hern, Sara Rose Humphrey, Joanna Karausz, Ethan Daniel Levy, Ashley Little, Peter Loricco, Sean Magnacca, Kelley Mcandrews, Alexa Mccartney, Kelly-Marie Mccartney, Mallory Miller, Elizabeth Valenti, Rachel Valovcin, Claudio Venanci

Version 17

My Fair Lady (2013-12-Théâtre du Châtelet-Paris)

Type de série: Reprise
Théâtre: Théâtre du Châtelet (Paris - France)
Durée : 3 semaines
Nombre :
Première Preview : 05 December 2013
Première: 05 December 2013
Dernière: 01 January 2014
Mise en scène : Robert Carsen
Chorégraphie : Lynn Page
Producteur :
Avec : Katherine Manley (Eliza Doolittle) ou Christine Arand, Alex Jennings (Henry Higgins), Nicholas Le Prévost (Colonel Pickering), Donald Maxwell (Alfred P. Doolittle) ou Phillip Joll, Caroline Blakiston (Mrs. Higgins), Ed Lyon (Freddy Eynsford-Hill), Lee Delong (Mrs. Pearce), Simon Butteriss (doublure H. Higgins), Jeremy Finch (doublure Z. Karpathy), Franck Lopez, Philip James Glenister, Ross Barnes, Steve Devereaux (doublure Col. Pickering), Phillip Joll, Stephanie Campion (doublure Mrs. Higgins), Jeanne Vitez, Irène Palko (doublure Mrs. Pearce), Elisa Doughty (Femme de chambre 1), Isabelle Poinloup (Femme de chambre 2), Florence Bonet (Mrs. Higgins Maid)
Commentaires : Trois ans après le triomphe du célèbre musical au Théâtre du Châtelet, My Fair Lady, l'oeuvre aux 2717 représentations à Broadway, revient enchanter les fêtes de fin d'année à Paris.

Version 18

My Fair Lady (2018-04-Vivian Beaumont Theatre-New York)

Type de série: Revival
Théâtre: Lincoln Center for the Performing Arts (New-York - Etats-Unis)
Durée : Se joue actuellement
Nombre : 39 previews -
Première Preview : 15 March 2018
Première: 19 April 2018
Dernière: Open end
Mise en scène : Bartlett Sher
Chorégraphie : Christopher Gattelli
Producteur :
Avec : Laura Benanti (as Eliza Doolittle until Feb 17), Harry Hadden-Paton (as Henry Higgins), Norbert Leo Butz (as Alfred P. Doolittle until Jan 6), Danny Burstein (as Alfred P. Doolittle from Jan 8 to Apr 28), Rosemary Harris (as Mrs. Higgins), Allan Corduner (as Colonel Pickering), Jordan Donica (as Freddy Eynsford-Hill), Linda Mugleston (as Mrs. Pearce), and Clarke Thorell (as Zoltan Karpathy)
Commentaires : The original cast included two-time Emmy Award-nominated "Six Feet Under" star Lauren Ambrose, taking on the lead role of Eliza Doolittle, with "Downton Abbey" and "The Crown" actor Harry Hadden-Paton making his NY stage debut as Henry Higgins, whilst two-time Tony winner Norbert Leo Butz and "Game of Thrones" favorite Diana Rigg have been cast as Alfred P. Doolittle and Mrs. Higgins, respectively.

Marking the first Broadway revival in 25 years, the brand new production is directed by Tony Award winner Bartlett Sher and is another shining example of Sher doing what Sher does best. Following his tremendous successes with South Pacific and The King and I, he has created yet another lavish and nostalgic representation of a timeless classic. With grand sets and elaborate costumes most directors would die for and rousing musical numbers galore, the audience is spoilt by an embarrassment of riches. Sher's interpretation of the ending of the piece may also surprise some attendees, but is actually more in line with the musical's original source material - George Bernard Shaw's Pygmalion. Kudos to Lincoln Center Theater for once again proving itself as the frontrunner in staging Broadway musical revivals.
Presse : "The plush and thrilling Lincoln Center Theater revival or Lerner & Loewe's My Fair Lady reveals Eliza Doolittle as a hero instead of a puppet — and reveals the musical, despite its provenance and male authorship, as an ur-text of the #MeToo moment. Indeed, that moment has made My Fair Lady, which had its Broadway premiere in 1956, better than it ever was." Jesse Green for New York Times

"Broadway’s My Fair Lady takes you to showtune heaven in a new production that’s both opulent and daring." Joe Dziemianowicz for New York Daily News

"We’ve grown accustomed to the grace of Bartlett Sher’s revivals of American stage classics, but that doesn’t mean we should take them for granted. Working in blessed harmony with his trusty creative team—including set designer Michael Yeargan and costumer Catherine Zuber—Sher is not an iconoclast or radical re-sculptor; instead, he acts as a restorer, leaving the shows on their pedestals but stripping off years of obscuration to reveal layers the works have possessed all along. So it is with the splendid new Lincoln Center Theater revival of My Fair Lady." Adam Feldman for Time Out New York

"There's a breathtaking visual in Lincoln Center Theater's new My Fair Lady when Lauren Ambrose emerges as Eliza Doolittle, transformed from common-as-muck flower girl into regal stunner, done up to attend the posh Embassy Ball... Comparable delights intoxicate the eyes and ears throughout this sumptuous staging from Bartlett Sher, a director who has proved to be among the very best at chiseling surprising nuance out of vintage musicals." David Rooney for Hollywood Reporter

"If you’ve got it, flaunt it. The splendid Beaumont stage at Lincoln Center was made for great classic musicals like Lerner and Loewe’s My Fair Lady, and helmer Bartlett Sher was born to stage them. This jubilant revival is meticulously mounted and entirely welcome – despite the eccentric casting choice of Lauren Ambrose as Eliza Doolittle." Marilyn Stasio for Variety

Version 19

My Fair Lady (2019-07-Festival Bruxellons-Bruxelles)

Type de série: Revival
Théâtre: Festival Bruxellons! (Bruxelles - Belgique)
Salle : La Cour
Durée : 1 mois 3 semaines
Nombre : 26 représentations
Première Preview : 11 July 2019
Première: 14 July 2019
Dernière: 08 September 2019
Mise en scène : Jack Cooper • Simon Paco
Chorégraphie :
Producteur :
Avec : Marina Pangos (Eliza Doolittle), Franck Vincent (Henry Higgins), Janine Godinas (Mrs Higgins), François Langlois (Colonel Pickering), Daniel Hanssens (Alfred Doolittle), Laure Godisiabois (Mrs Pearce), Samuel Soulie (Freddy Eynsford-Hill), Carole Clin (Mrs Eynsford-Hill), Oonagh Jacobs (Mrs Hopkins), Steven Colombeen (Zoltan Karpathy), Florian Avoux (Jamie), Arnaud Masclet(Harry), Jolijn Antonissen, Ivy Barlow, Camille Barreira, Roland Bekkers, Virginie Benoist, Zen Berckmans, Pia Brondel, Allan Bungeneers, Geoffrey Debondt, Anaë Dechamps, Armance Delaunoy, Ellen Dilles, Sonia Sheridan Jacquelin, Damien Locqueneux, Romina Palmeri, Stijn Proesmans, Inge Teeuwen, Nando Tilkin, Delphine Vandersmissen
On aura vécu pour voir se mélanger Karl Marx et Audrey Hepburn, mais aussi Bourdieu et Walt Disney.
Si si! Vous êtes sceptiques? Foncez au Château du Karreveld découvrir My Fair Lady, comédie musicale américaine adaptée en français au festival Bruxellons!, et vous verrez: Marx pour la plongée dans le prolétariat londonien; Audrey Hepburn pour la classe intersidérale de la comédienne principale; Bourdieu pour l’importance du capital culturel dans la distinction des classes; et enfin, Walt Disney, parce qu’on reste tout de même dans le registre du conte de fées avec robes de princesses et parenthèses (en)chantées. Mise en scène par Jack Cooper et Simon Paco, My Fair Lady est tout cela à la fois. (…)
Absolument époustouflante, Marina Pangos porte ce personnage avec un charisme fou. Non seulement sa métamorphose est spectaculaire, depuis la gouailleuse fille des rues jusqu’à la « lady » au port altier, mais son travail sur les accents évite tous les écueils. Elle aurait pu sombrer dans une imitation locale du brusseleir ou une variation facile du ch’ti mais elle façonne plutôt une intonation bien à elle, mélange de mille influences, mais créé de toutes pièces.
Emporté par son jeu haut en couleur, le public pulse en rythme avec ce « musical » pétaradant. Franck Vincent affiche une arrogance sulfureuse dans le rôle de l’intraitable Higgins, les costumes se la jouent hollywoodiens (mention spéciale aux extravagants chapeaux d’Ascot) et l’orchestre, pimpant, rehausse ce tableau si « joâli », comme dirait my fair lady."
Catherine Makereel - Le Soir - 7 août 2019

"CRITIQUE - Marina Pangos et Franck Vincent excellent dans les rôles titres d’Eliza Doolittle en bouquetière des quartiers populaires et d’Henry Higgins en professeur de phonétique distingué. (...) Mention spéciale à Daniel Hanssens qui campe un Alfred Doolittle, père d’Eliza, plein de bonhomie et de joyeuse maladresse. Les chorégraphies, composées par Kylian Campbell (assisté de Lexia Cuvelier), apportent fraîcheur et dynamisme au spectacle. (...) Le choix des metteurs en scène Jack Cooper et Simon Paco de maintenir l’histoire au cœur de la société anglaise est donc d’autant plus judicieux que les écarts socio-économiques y étaient particulièrement patents selon l’accent des habitants."
Stéphanie Brocart - La Libre - 16 juillet 2019

"CRITIQUE - Bien sûr, les metteurs en scène Jack Cooper et Simon Paco n'auraient pas pu le réussir sans une distribution aussi brillante, avec Franck Vincent pleinement à l'aise en Henry Higgins, un rôle qu'il est né pour jouer, et l'étonnante Marina Pangos, incarnant avec habileté toutes les couches du voyage du personnage d’Eliza Doolittle la menant de la misère à la fortune. Il est clair qu'une star est née cette année à Bruxelles, comme en témoigne l'ovation debout de Marina.
Encore plus que dans le Sunset Boulevard de l'année dernière, l'ensemble de la distribution est proche de la perfection, avec le vétéran de Bruxellons! Daniel Hanssens, un irrésistible Alfred P. Doolittle, et Janine Godinas, une charmante Mme Higgins.
Patrick Honoré - BroadwayWorld (New York) - 31 juillet 2019

"CRITIQUE - Disons le franchement, ce "My Fair Lady" est un chef-d'oeuvre d'une sincérité et d'une justesse incroyable, j'ai trouvé que cette version était bien meilleure que celle du Théâtre du Châtelet de Paris que j'avais vu il y a quelques années et que je trouvais trop calculée et artificielle. (…) Marina Pangos est vocalement impeccable et son interprétation du rôle d'Eliza est fraiche et intense. (...) Franck Vincent est formidable dans son interprétation de Higgins. (…) Dans le Musical original, «Dans la rue où elle vit» est une chanson mélancolique montrant Freddy, frappé d'amour, aveuglé par Eliza. Dans cette version, la chanson devient un hymne fascinant pour le public quand il est chanté par Samuel Soulie, d'une voix remarquable et d'une présence impressionnante.
My Fair Lady a été appelé à juste titre «la comédie musicale parfaite» et la mise en scène du Festival Bruxellons est un modèle de perfection. Un conseil, courez vite au Festival Bruxellons voir cette merveille de Musical... Enfin Bruxelles devient Broadway !"
Paul Regnier - De Paris à Broadway - 27 juillet 2019

"CRITIQUE - Après avoir monté l’année passée la première version française de «Sunset Boulevard» d’Andrew Lloyd Webber, les réalisateurs Jack Cooper et Simon Paco ont à nouveau réussi à surprendre. La nouvelle adaptation répond aux exigences de l’original et les chansons sonnent aussi bien en français qu’en anglais, même si le «Rain in Spain» est devenu «En mai l’anglais». (…) Et il y a cette superbe actrice Marina Pangos qui non seulement possède une voix magnifique, mais qui sait nuancer son jeu de la fille de la rue ordinaire à cette créature sublime qu’elle sera à la fin, cette «Fair Lady». Franck Vincent joue parfaitement ce misogyne qui n’a pas le courage d’avouer ses sentiments contraires à son idéologie. Puis, il y a Daniel Hanssens qui atomise de l’énergie et de la joie pure comme papa d’Eliza. Tout l’ensemble joue et danse les chorégraphies de Kylian Campbell en perfection."
Christian Spielman - Letzeburger Journal (Luxembourg) - 16 juillet 2019

"CRITIQUE - Le rôle d'Eliza est interprété de façon impressionnante par Marina Pangos. Cette jeune femme sait charmer le public avec sa belle voix, sa présence et son jeu. Elle possède ce don spécial de pouvoir exprimer avec une mimique et ses yeux expressif une ligne complète de texte. Et nous pourrions écrire une anthologie sur tous les membres du cast et de l'ensemble car, soyons honnêtes, il y a eu un très beau travail de casting. Un cast particulièrement fort et un ensemble tout aussi remarquable ont permis de créer une mémorable représentation sur scène.
Il semble que l'on a évalué chaque seconde de la pièce, travaillé sur le moindre mot avant de le replonger dans la globalité de l’œuvre."
MusicalVibes - Jean Paul De Corte - 16 juillet 2019

"CRITIQUE - Bruxellons! sait gâter son public. Sa production en plein air est splendide. (…) La traduction française de Stéphane Laporte, Jack Cooper et Simon Paco est d’une grande justesse. (…) Marina Pangos livre une performance formidable. Cette dernière a souvent des airs de Laura Banenti qui jouait le même rôle il y a encore quelques semaines à Broadway. La troupe qui accompagne la comédienne française est aussi d'un excellent niveau, à commencer par le duo Higgins et Pickering (Franck Vincent et François Langlois). (…) Une mention spéciale pour les performances de Janine Godinas et Daniel Hanssens qui incarnent respectivement Mrs Higgins et Alfred Doolittle. (…)
Le festival émerveillera à coup sûr son public par la qualité de sa production. A voir absolument si vous êtes à Bruxelles cet été !"
Philémon Heutte - Musical Avenue (Paris) - 29 juillet 2019

"CRITIQUE - Bruxellons! propose un «My Fair lady» éblouissant, vigoureux comme aux premières heures, débordant de verve et de bienveillance. Une splendide façon de fêter les 20 ans du festival!
La mise en scène est de Jack Cooper et Simon Paco. C’est un spectacle de haut niveau qui plaira au beau monde comme aux chats de gouttière.
Cette version bruxelloise francophone de la comédie musicale est fidèle aux textes et à l’époque. Quel bonheur! La libre traduction de Stéphane Laporte est d’une grande saveur et d’une belle empathie littéraire.
Décernons aussi de multiples médailles pour les fabuleux costumes signés Béatrice Guilleaume et la scénographie de Francesco Deleo, les divines coiffures d’Olivier Amerlinck, les maquillages et perruques de Véronique Lacroix. Aux chorégraphies Kylian Campbell, aux lumières Laurent Kaye. A la direction musicale de l’orchestre, des solistes et des chœurs, la pétulante Laure Campion assistée par Julie Delbart.
Laure Godisiabois au mieux de sa forme. (…) Jeanine Godinas, royale. Emouvante, et sensible lorsqu’elle se prend d’amitié pour Eliza. (…) L’interprétation irréprochable de Marina Pangos est empreinte d’humanité profonde. Elle fait rire, elle fait pleurer, elle fait réfléchir, se poser des questions. (…)"
Deashelle - Arts & Lettres - 17 juillet 2019

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