MY FAIR LADY

Chichester Festival Theatre

★★★★

“a production full of theatrical confidence, energy and affection”

The transformation of a Covent Garden flower seller into a society lady may be at the heart of My Fair Lady, but Lerner and Loewe’s celebrated musical has always been about more than manners and pronunciation. Adapted from George Bernard Shaw’s Pygmalion, its sparkling wit and unforgettable melodies have secured its place in the repertoire, yet beneath the elegance lies a sharper examination of class, identity and the ways society decides who belongs.

Following the success of Oliver! before its West End transfer, Chichester once again turns to a musical centred on social mobility, exploring how class can shape not only where people live but how they are heard and judged. Director Rachel Kavanaugh returns to similarly class-conscious territory after her acclaimed Half a Sixpence at Chichester. The story follows Eliza Doolittle (Keziah Ibe), a flower seller whose chance encounter with phonetics expert Henry Higgins (Hadley Fraser) leads to a wager that becomes far more complicated than either expects. Convinced he can transform her into a lady fit for society, Higgins treats Eliza as both pupil and experiment, but their relationship becomes increasingly complicated as Eliza begins to question the person she is becoming and whether Higgins has the right to decide her future.

Where this production excels is in its depiction of working-class life. The Covent Garden scenes are filled with infectious energy, with Ibe joined by the Cockney quartet (Jonathan Bourne, Nic Cain, Joe Henry and Kody Mortimer) in a joyous “Wouldn’t It Be Loverly?” that establishes the production’s warmth and vitality. Gary Milner is equally memorable as Alfred P. Doolittle, embracing the character’s ducking and diving energy and physical comedy in “With a Little Bit of Luck” and a show-stopping “Get Me to the Church on Time” that brings the evening to a deserved pause for applause.

Fraser’s Henry Higgins is a fascinatingly difficult figure. Charismatic, intelligent and commanding, he captures both Higgins’ brilliance and his arrogance, cruelty and emotional immaturity, resisting any temptation to make him simply charming. His relationship with Eliza remains compelling precisely because the production never reduces it to a straightforward romantic transformation story.

Making her professional stage debut, Keziah Ibe faces the considerable challenge of one of musical theatre’s most iconic roles. She is particularly engaging in the early scenes, capturing Eliza’s humour, resilience and determination with confidence. As the role moves into the more complex stages of Eliza’s journey, some elements of that development feel less fully realised than the production’s many other strengths. However, Ibe remains a compelling stage presence, and her clear soprano voice and evident potential suggest a performer with an exciting future ahead.

Around them, the supporting cast adds considerable texture. Tony Jayawardena brings warmth and gentle humour to Colonel Pickering, providing a contrast to Higgins’ more abrasive personality. Belinda Lang is excellent as Mrs Higgins, elegant and quietly commanding when dealing with her son’s behaviour. Finty Williams adds grounded practicality as Mrs Pearce, while Ben Culleton gives Freddie Eynsford-Hill unexpected charm, particularly in “On the Street Where You Live”.

Peter McKintosh’s set and costume designs capture the changing worlds and social divisions of Edwardian society, from the bustle and individuality of Covent Garden to the controlled elegance of Ascot and the Embassy Ball. Higgins’ study dominates the thrust stage as both workplace and battleground for the central relationship, while economical staging, lighting and carefully chosen props allow other locations to emerge. Stephen Mear’s choreography brings each setting vividly to life, from the exuberant Cockney street sequences to the precision of Ascot and the elegance of the Embassy Ball. Under Cat Beveridge’s musical direction, the fourteen-piece orchestra brings warmth and richness to Lerner and Loewe’s enduring score.

Beautifully staged and driven by Lerner and Loewe’s unforgettable score, Kavanaugh’s revival reminds us why My Fair Lady has endured for almost seventy years. Beneath the elegance and humour is a story that continues to question whether transformation comes from changing how others see you or from discovering your own sense of self. While the central journey does not always achieve the emotional complexity it promises, this remains a production full of theatrical confidence, energy and affection for a musical whose questions about class, ambition and the price of reinvention remain surprisingly relevant.

MY FAIR LADY

Chichester Festival Theatre

Reviewed on 15th July 2026

by Ellen Cheshire

Photography by Johan Persson

MY FAIR LADY

MY FAIR LADY

MY FAIR LADY