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"My Fair Lady" has been called the perfect musical for many reasons, and almost all of those reasons were in place on opening weekend on stage at the Elizabeth Wallace Theatre of the Arts Center of Coastal Carolina on Hilton Head Island. The show was charming, smart, lovely, romantic, witty and loaded with theatrical high points. It seems that no matter how many times we have seen the production before, we find something new, fresh and spontaneous in this award-winning show.
The theater was fully packed as islanders and visitors alike anxiously anticipated the familiar overture. The brilliant production, with book and lyrics by Alan Jay Lerner and music by Frederick Loewe, adapted from George Bernard Shaw's play, "Pygmalion," was simply spot-on.
The story, of course, is perfect. Eliza Doolittle, a Cockney flower seller full of contradictions, by story's end and with the participation of Professor Henry Higgins, becomes a lady of grace and charm and untapped capabilities as we follow the ins and outs of her transitions.
The story and the music require an inspired cast, and Casey Colgan saw to that in the most impressive way. Loaded with quality, talent, experience and dedication, the company performed masterfully. We were so aware of not only the individual characters, but of their complex relationships.
Then, of course, there is the music. Thanks must go to music director Bradley Vieth and his fine musicians. The music flowed, just as it should, as we simply sat back and enjoyed all of the songs. "Wouldn't it be Loverly," by Eliza and her Quartet, followed by Alfred Doolittle's "With a Little Bit of Luck," caught the Cockney spin we'd all come to appreciate. "The Rain in Spain" suggested something new, as Henry Higgins, Eliza and Colonel Pickering take it to the top.
And just when you can't imagine anything more, there's the real beginning of the new Eliza with "I Could Have Danced All Night."
The impact of "Ascot Gavotte" is simply stop-you-in-your-tracks theater. Filled with magic moments -- visual and musical -- the stunning segment added so much to the phenomenalflow. The stage was dotted with the most elegant guests moving about in formal costumes of black and white gowns on the ladies, with the gentlemen in formal dove gray. The effect was unforgettable.
Knock out, too, was the "Embassy Waltz." Such a treat for us to be "in on the joke" as the assembled royalty took a close-up look at our Eliza. Again, it's all about relationships.
Lindsie Van Winkle is the most incredible Eliza Doolittle. She was so convincing and believable, first as the Cockney flower girl, then as the high-spirited young woman who "washed my face before I came, I did" when she arrives at the home of Professor Henry Higgins, to ask for speech lessons. We are still amazed at the impact of her appearance at "Ascot" or "Embassy Waltz."
Van Winkle, who appears in New York and off-Broadway productions, was recently seen here as Eponine in "Les Miserables." She is a remarkable actress who sings beautifully.
Peter Simon Hilton is right on the mark as Henry Higgins. He looks the part, sings the part, acts the part and he is just so delightfully pompous. We follow him through his own transition, when he realizes that "I've Grown Accustomed to her Face," and he is now dealing with a different Eliza.
Hilton, who appears in theaters throughout the country, holds a degree from University College London and is a member of American and British Equity.
John Charles Kelly is the gracious Colonel Pickering, and how we love his thoughtful approach to Eliza.
Leaping and bounding as we hoped he would, was Drew Taylor, the rowdy and rousing Alfred P. Doolittle. Played directly and energetically, he appealed to our sense of order as he introduced us to his circumstances, his trouble-making friends, and as he helped us through his own transitions -- dustman to a wealthy lecturer on moral values.
Scott Evans, whom we enjoyed as Leo Bloom in "The Producers," was the hapless Freddy Eynsford-Hill, and we loved him in spite of his unrealistic expectations. His "On the Street Where You Live," was just right.
A perfectly mixed supporting cast with high energy and careful attention to the critical details of their performances kept the momentum rolling. Loaded with hand-walking buskers and high-jumping dancers, police officers, flower girls and promenaders,we enjoyed their performances and appreciated the solid structure they created to dramatically set off the leading characters.
The story's ending, you'll remember, is not perfect ... I'd have loved a wedding!
