By John Lyle Belden
Newer theatre companies often look to past classics to show their stuff, and thus 4th Wall Players present George Bernard Shaw’s comedy, “Pygmalion.” The story is more familiar in its adapted version, the 1964 film musical, “My Fair Lady.” However, there are some differences (and no singing) in the original play.
Waiting under the shelter of a building during a rainstorm, we meet most of the characters we will see throughout the coming five acts (configured to two). Expert linguist Professor Henry Higgins (Josh Gibson) shows off his ability to know, after hearing a few spoken words, what town in England one is from – and practically to the street within London. Mrs. Eynsford-Hill (Alyssa Lay), her grown son Freddy (Jericho Frank) and teen daughter Clara (Olivia Taylor) are wildly impressed, as is Colonel Pickering (Joshua Minnich), who is actually there to meet Higgins. The Professor’s mother (Ryley Trottier) is less impressed. On the other hand, a poor flower girl, Eliza Doolittle (Mallery Beard) is at first frightened by this man writing down every word she utters, then becomes curious at his saying, offhand, that if she spoke a better dialect she could be off the street and running her own shop.
Later, Eliza gathers her courage and goes to Professor Higgins to ask for diction lessons. Though extremely mocking and condescending, Henry makes a bet with Pickering that he can improve her speech and manners enough in six months to pass her off as upper-class. The Colonel graciously pays for her needs, including new stylish clothes. Higgins’ servant, Mrs. Pearce (Emily LaBrash), kindly takes charge of making Eliza – put on edge by all this attention – clean, presentable, and as comfortable as possible.
While learning from blunt and verbally abusive Higgins, she gets encouragement from Pickering, who Minnich plays as such a perfect gentleman, we have no problem believing the character is older than the actor without the need for heavy makeup. She also has the example of Pearce, whom LaBrash plays as wise enough to stand up to the Professor to verbally spar without taking his words personally or crossing an argumentive line. Trottier gives us the hero of this story, her Mrs. Higgins helping make this project work while tempering her mannered resolve with necessary empathy. Frank provides as much as Freddy’s narrowly-written role allows as the young man who saw Eliza’s beauty when she was a flower girl, a secret he keeps while professing his love for her as a lady.
In an interesting turn, we are confronted by Eliza’s father, Alfred (Stephen Taylor), a drunken layabout who senses an opportunity in this situation.
For Eliza Doolittle herself, Beard is inspiring in her taking on what could have been just a Cockney caricature and breathing life into it, then feeling Eliza’s way through changes and uncertainty, evolving in speech, manners, and inner character until the final morning-after makes it all clear.
We also meet Kathryn Paton as Countess Nepommuck, a socialite inspired by Higgins’ instruction to teach manners and English to others, who thinks she has figured Miss Doolittle out. Lacy Taylor nicely serves up roles as a Taxi-driver and Mrs. Higgins’ parlor maid. The cast also includes Benjamin Elliott (bits include a rather attentive policeman) and Tracy Fouts.
“Pygmalion” gets its title from an ancient story of a sculptor who falls in love with one of his creations – which sounds more like the 80s movie “Mannequin” than “My Fair Lady.” In fact, since Shaw first penned the play, many have wanted – over his objections – to definitively romantically “ship” Henry and Eliza, like a modern fanfic, rather than deal with a more nuanced ambiguous ending. Gibson’s portrayal of Professor Higgins seems to erase such suspicions; his character is intriguing because the arc is flat – he alone never changes. His desires are never romantic or even sexual, just a regular companion with whom he can engage in conversation or other cerebral intercourse, and to blazes with any other humans. In the man’s unshakable ways, as well as when he fails to note his genius falling short, we see a clear reflection of the way others adapt to the events of the plot, as well as providing a solid canvas on which the narrative paints its satire.
Perhaps it is apt that the actor’s real-world wife, Katherine Gibson, directs this production. In bringing all the various characters splendidly to life, she lets Shaw’s dry wit shine through. About the only broad comedy is in Taylor’s wildly Cockney rantings as Mr. Doolittle, which serve in their own way to skewer the British class system with his enjoyment of being “undeserving” and railing against “middle-class morality.” Still, throughout the play the laughs are there, especially if you pay attention.
Unfortunately, one potential distraction is that shortly before the play opened, the Stage Door Theatre’s air conditioning broke. 4th Wall have acquired a portable AC, set up fans, and among the free refreshments (donations welcome) are frozen ice pops. Still, it would be advisable to dress light and exercise understanding.
Remaining performances of “Pygmalion” are Friday through Sunday, June 27-29, at Stage Door, 5635 Bonna Ave., Indianapolis (in historic Irvington). Get tickets and information at 4thwallplayers.org.
Plays with John & Wendy 