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Synopsis
Prof Henry Higgins – a bachelor and recognised professor of language and phonetics is prowling the streets of London, recording local spoken dialects. He is noting down the conversations of a cockney flower girl ‘Eliza Doolittle’ when he is discovered by the local street goers and mistaken for a police detective (a “tec”). This encounter leads to a chance meeting with ‘Col. Hugh Pickering’ also a noted British linguist just back from India. Higgins boasts to Pickering that he could transform the unrefined, dirty, cockney flower girl (Eliza) into a refined Victorian lady and pass her off at any high society social function as a member of the aristocracy.
Pickering proposes a wager with Higgins that he can’t do it. Ignoring the emotional effect this may have on the girl and the consequence of what to do with her when they have finished, Higgins accepts. Eliza, full of pride and misunderstanding, turns up on Henrys doorstep and offers to pay for her tuition and unknowingly becoming their test case. Eliza hopes that once tutored she will be able to work in a shop however, all fail to foresee what is to become of her. Eliza’s father (Alfred P. Doolittle) another cockney with a gift for rhetoric upon hearing of Eliza’s ‘turn of fortune’ expresses his concern to Higgins but even with the conflicting realities of social injustice, turns a blind eye in favour of a small some of money.
After many weeks of hard work, long hours and little sleep, to everyone’s joy and relief, the transformation takes place. Ascot is chosen as the venue to test Eliza where Mrs Higgins (Henrys mother) has a race course box where she invites all her aristocratic friends. Mrs Higgins is shocked when she hears her son is bringing a common flower girl to Ascot, but, after their introduction, Mrs Higgins mother takes a shine to Eliza as does Freddy Eynsford-Hill, a young gentleman who falls madly in love with Eliza. Freddy is so besotted with Eliza that he camps outside Higgins house just to be ‘on the street where she lives’. Henry Higgins thus wins the wager but what now becomes of Eliza as Henry has grown accustomed to her face and can’t contemplate life without her presence.
The musical “My Fair Lady” is based on the book Pygmalion – a classic book written by George Bernard Shaw, a writer very local to Welwyn – living in Ayot St. Laurence. Shaw’s Pygmalion retells a myth by Ovid, in which a man creates and falls in love with a female statue. The goddess of love takes pity on the man, and brings the statue to life. “My Fair Lady” turns a drama of mythological weight into a light hearted musical comedy.
When George Bernard Shaw wrote Pygmalion, nearly a century ago, no one could have predicted his play would eventually be converted into one of the great musicals of our time.
“The English have no respect for their language, and will not teach their children to speak it. They spell it so abominably that no man can teach himself what it sounds like” -George Bernard Shaw (born Dublin 1856) “My Fair Lady” made theatre history when it opened on Broadway. Waiting for tickets to see a show was something unheard of for a musical. The original stage cast included Julie Andrews (as Eliza), Rex Harrison (as Higgins) and Stanley Holloway (as Alfred P Doolittle)
Review
An adaptation of My Fair Lady was showcased by the Welwyn Thalians at the Hawthorne Theatre, Campus West. The chorus were singing “Who will buy my sweet red roses” as the dirty, scruffy flower girls tried desperately to sell their wares on the streets of London to all who passed by. Professor Higgins, superbly played by Peter Sayers, singled out Eliza Doolittle (Tammy Wall), a dynamic performance by her; he would teach her to speak the King’s English and she would become a lady. Housekeeper Mrs Pearce (Gillian Shaw) was always around to make sure Eliza wasn’t being bullied. During the course of her transformation to a lady Eliza had many tantrums, shouting at Higgins in her coarse Cockney accent.
Eliza was taken to Ascot as a lady, with all Its regalia and the mingling crowds. Mrs Higgins (Ann Woolmington) made her feel welcome. Freddy Eynsford-Hill (Andy Hill) appears on the scene and Is in awe of Eliza and her mannerisms; he played the lovelorn puppy with ease, the right part for him. He sings outside the place where Eliza lives, hoping she will come out to see him. Alfred Doolittle (Terry Cull) enters Walpole Street to see his daughter, he had dubious morals as well as vested interest in his daughter’s welfare.
The scenery and costumes were elaborate. The singing and dancing was brilliantly choreographed by Samantha McRae, and the music provided by Peter Farrell and his orchestra excelled throughout. The credit must surely go to the directors of this hugely successful production, Amanda Sayers and Angela Dunham. The full house appreciated the talent they had witnessed.

| Eliza Doolittle | Tammy Wall |
| Freddy Eynesford-Hill | Andy Hill |
| Professor Higgins | Peter Sayers |
| Mrs. Eynesford-Hill | Dot Lutkin |
| Colonel Pickering | Peter Dunham |
| Zoltan Karparthy | Brian King |
| Alfred Doolittle | Terry Cull |
| Jamie | Tim Spink |
| Mrs. Pearce | Gillian Shaw |
| Harry | Nick Baker |
| Mrs. Higgins | Anne Woolmington |
| Servants | Alison Downes, Samantha McRae; Angela Monaghan; Jackie Radford; Hannah Maxwell, Emma Kemble-Fox, Speciosa Nakavuma |
| Ensemble | Louise Bateman, Roisin Bateman, Keira Bateman, Stevie Gibbs; Mary Ferrie, Colleen Town, William Maxwell, Alan Gibbs, Graham Bird, Nathan Molyneux, Martin Desmond, Richard Eden |
| Production Directors | Angela Dunham & Amanda Sayers |
| Production Manager | Vin Clemmens |
| Musical Director | Peter Farrell |
| Choreographer | Samantha McRae |
| Dance Captain | Mary Ferrie |
| Stage Manager | Vincent Clemmens |
| Assistant Stage Manager | Frances Green |
| Stage Crew | Jon Marsh MBE, Peter Chenery, John Thorn,Rob Clemmens, Chris Love, Wendy Tormey |
| Properties | Manager Vanessa Baker |
| Properties Team | Katherine Brassett |
| Sound | Alex Dugdale |
| Lighting Design | Richard Boaste |
| Costumes | Theatrical Costumehouse (Westcliff) Ltd. |
| Campus West Theatre manager | Mark Woolman |
| Capus West Chief Technician | Andy Pye |
| Conductor | Peter Farrell |
| Flute Clare | Taylor |
| Clarinets | Andrew Pummell, Pat Light |
| Oboe | Isobel Naylor |
| Bassoon | Rebecca Maclean |
| Trumpets | Ellie Morgan, Tim Welch |
| Trombone | Ian Daniels |
| Horn | Simon Cove |
| Violins | Helen Sanders-Hewett, Angela Pulsford, Pam Davies |
| Viola | Tom Ried |
| Cello | Rosemary Leak |
| Bass | Peter Neville |
| Percussion | Chris Gray |
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