Oxford Playhouse, Monday 23rd -Saturday 28th November

Mon-Sat 7.30pm; Sat 2.30pm.

“If you are lucky enough to still get tickets for the show this week (which, by the rate of their sale, is unlikely if you don’t call now) then safely assume this is probably the best amateur musical production you’ll find outside London.” Sam Baker ★★★★★

“In most parts, it was sheer poetry. And I don’t think this is my bias for productions with a lot of good music speaking (and mind you, the songs and music were superb)” Abhishek Bhattacharyya ★★★★★

My Fair Lady ★★★★★

Review by Sam Baker

A classic musical, very stylishly produced, with lead roles performed at high standards throughout, and with an effective chorus to match. These few words pretty much sum up Oxford Operatic Society’s great opening night of My Fair Lady at the Playhouse, Monday 23^rd Nov.

It is a rare treat to come across amateur theatre being done so well, especially if it’s musical theatre. Before the show it’s easy to prejudice and to expect not all that much from a group of theatre lovers, many of whom have put their free time into making it all possible. This mustn’t be said of this production of M.F.L, which has really gone to town on a lavish set, excellent costumes, fine lighting and decent props. If you are lucky enough to still get tickets for the show this week (which, by the rate of their sale, is unlikely if you don’t call now) then safely assume this is probably the best amateur musical production you’ll find outside London.

The chorus were strong and in the busy scenes did not annoyingly steal the audience’s attention from the action of the main characters, which so often happens. They have been superbly directed by the long-standing Society member Dave Crewe, who has brought out the best in the visual potential of a group of people on stage. They have been well choreographed by Joanne Cook, and their unobtrusive energy is loveable. Whether in the rowdy tavern, Ascot, or the Embassy Ball, each minute character contributes remarkably to the overall setting of the scene. With a little bit of luck being an audience “top hit”, this full chorus version lacked neither energy nor that certain wow factor. Togetherness with the orchestra, though not yet 100% there, stands them in good stead of giving the show its drive and impetus. Only a few extra waltz lessons wouldn’t have come amiss, though, for those high society scenes.

The lead roles were well brought to life, and not without appropriate references to the iconic movie of 1964. Could the Operatic Society’s esteemed Charlie Ross have played Professor Higgins a little less like Rex Harrison? Probably. Did this matter much? No, not really. He was great to watch, and actually sung a good deal better than old Rex in the film.

Catherine Evans, one of the Society’s newest members, gave a convincing portrayal of Eliza, her first big break in Oxford. Always engaging, and mostly secure in all her big songs, she never failed to sparkle – our favourites, Just you wait and I could have danced… being particularly successful.

Supporting roles were generally of a high standard. Alfred and Freddy were charming if not a bit cheesy (perhaps fitting), and have been cast evidently for their acting far more than for the appropriateness of their vocal registers.

All in all, the team can be proud of having had quite a brilliant start to the week. But resting on laurels of a successful opening night is a curse. If they don’t start flagging, and if more can rely on projecting their voices rather than on the microphone’s questionable ability to do the work for them, then the professionalism will be raised to more outstanding heights.

My Fair Lady ★★★★★

Review by Abhishek Bhattacharyya

In most parts, it was sheer poetry. And I don’t think this is my bias for productions with a lot of good music speaking (and mind you, the songs and music were superb). In retrospect, even the lights’ dimming seems so poetic! The audience had been waiting before a stage, which was suddenly transformed. The lights shot through the nets and a scene erupted. It was almost like a fairytale. A bunch of people theatrically poised, transmuted by the lights and the music. (Maybe this is the point where a critic would go – Ah! The beginning prefigures the thematic of the play! …) But this was true of the entire production. The most remarkable aspect of it was perhaps its ability to change moods with fluidly shifting scenes. All of a sudden the Covent Garden props would be hoisted away and a tavern scene planted, lights shifted from morning to a starry night, and with all the same people continuing a dance on stage – the mood would still be so wonderfully different, magically transformed. In other words, wonderful props and prop management, lights management, choreography and acting/dancing. The choreography of the market scenes deserve special mention for the way such huge crowds came alive, preserving the feel of a crowd, but never crowding out the poetry.

Alex Williams as Freddy and Jeremy Dwight as Colonel Pickering were brilliant. Mr Williams is clearly either a Freddy-like character in real life or a brilliant actor. Even small movements like shifting feet to strike a grand posture, but withdrawing in nervousness, were really well executed. Mr Dwight seemed to be just the ideal Colonel Pickering to my imagination. I could go on and on about his acting. Charlie Ross, of course, was also very impressive. Especially remarkable was his delivery of dialogue and singing – both of which conveyed condescension, humour, frustration and love – fluidly and in different ways. His chemistry with the different actors on stage went a long way in developing the characters through the tensions in their relationships. For example, the build up of tension between him and Catharine Evans as Eliza as the end approached, was simply superb, and I was left dreading that I would be provided another of those ‘ready-mades and reach-me-downs of the ragshop in which Romance keeps its stock of ‘happy endings’ to misfit all stories’ to cap it off. (And no, I won’t destroy the ending for you. It was delicious.) But of course, I cannot follow his character in not congratulating the ‘woman’. She was by far the best, if only it was her voice that took her beyond the rest. Not only was she the most clearly audible of all the actors (a few dialogues from most actors in Act 1 were inaudible or incomprehensible) in spite of all the ‘sounds’ that she was uttering, her singing was fascinating. So was the performance of Duncan Blagrove as Alfred Doolitle. He could powerfully change the mood of a scene with his antics. It was also brilliant the way the maids sweeped in and told of how even Mr Higgins was suffering – something that his character could not clearly express – and laid the grounds for small acts like nipping the port being noticeable in a different light. The three soliloquies delivered at a stretch across changing sets superbly climaxed this.

All in all, I can only end with their words – ‘Lovely, lovely, lovely, lovely, lovely’ – and with the regret that I can’t say the word each time with such a lovely poetic cadence.