Robyn Nevin – Theatre Press

Lush, lovely and loyal revival

By Bradley Storer

Rapturous strings and a painted scrim of the Thames welcomed the audience into the world of Edwardian-era London on the Melbourne opening night at My Fair Lady. This production under the direction of the original Eliza Doolittle, Dame Julie Andrews herself, hums with vitality, and with sets and costumes modelled on the original Broadway production (by Oliver Smith and Cecil Beaton respectively) one can feel the wonder the show must have provoked in the audience of yesterday, the Ascot Gavotte a particular moment of sheer visual loveliness.

My Fair Lady Photo by Jeff Busby.jpg

Anna O’Byrne is perfectly cast as Eliza. Her silvery soprano handled the score with ease, deploying Eliza’s feistiness and vulnerability in equal measure, and winning the audience’s heart in all her iconic numbers – but especially in the giddy and rapturous ‘I Could Have Danced All Night’. Her standing ovation at the end of the night was well-earned.

Charles Edwards manages to find the heart and humanity in the often reprehensible Henry Higgins, but doesn’t shy away from his acid tongue or biting wit in ‘Why Can’t The English?’ and ‘Hymn to Him’, managing to adroitly combine the ‘talk-singing’ style of the originator Rex Harrison with moments of understated lyrical voice to create a more individualised interpretation.

As Higgins’ closest confidante, Colonel Pickering, Tony Llewellyn-Jones is charmingly hilarious in the duo’s back and forth and in his own small moments onstage. Robyn Nevin as Mrs Higgins steals the show effortlessly with just a few lines, subtly suggesting where Henry has inherited his quick wit and turn of phrase from.

The scene-stealing role of Alfred P. Doolittle is here played by Reg Livermore, who places his own stamp upon the part and nails the cheeky paean to laziness ‘With a Little Bit of Luck’. As the lovesick Freddy, Mark Vincent has a lush and easy vocal tone, delivering a lovely ‘On the Street Where You Live’. The ensemble are fantastic throughout, bringing superb energy and vivacity to their characters and shining in Christopher Gattelli‘s choreography for ‘I’m Getting Married in the Morning’.

There has been critical discussion over whether certain elements and the ending of the musical should have been changed for this new production, and indeed on opening night there were moments where the blatant misogyny of Higgins drew audible gasps from the audience – since this has been staged as a recreation of the original 1956 production, I felt that trying to sanitise the darker undertones of the show that are more apparent to society today would be dishonest. It is doubtful the work can ever be described as ‘feminist’, since the musical seems to be more actually focused on Higgins’ journey than Eliza’s and concerns itself more with the effects of the class system rather than gender, but by refusing to soften the sheer awfulness of Higgins’ character it can be argued the production maintains a measure of integrity, even as it is slightly baffling why the newly self-empowered Eliza would choose to return to him.

Overall, a charming and beautiful revisitation of a classic sure to delight any audience!

Dates: May 16th – July 27th (Melbourne)

Times: Wednesday – Saturday 7:30pm, Tuesday 1pm, Wednesday 1pm, Sunday 3pm

Venue: Regent Theatre, 191 Collins St, Melbourne

Bookings: Ticketmaster.com.au or the venue box office

Image by Jeff Busby

Powerful family politics play out to the bitter end

By Ross Larkin

Jon Robin Baitz’s Other Desert Cities is surely one of the more intriguing and gripping contemporary plays of the last decade. Unpacking the fragile segments of family politics saturated with love and lies, tension and grief – Baitz’s comedy drama reveals its inner belly at just the right pace.

The MTC’s version opened this week, to a very receptive crowd. Director Sam Strong has perfectly cast Robyn Nevin as the simmering Polly, doing everything in her power to suppress her past, while maintaining an edge of ruthless charm. Nevin is utterly convincing in her portrayal of a privileged, somewhat manipulative woman who is dangerously close to breaking down.

Daughter Brooke, however (Sacha Horler), enters with nothing left to lose, and very little tolerance for her family’s insincerities. Horler offers a tremendous balance of light, shade and the chasm in between. Her unwinding and revealing at just the right pace and level of authenticity showcases Horler as the diverse and believable actress she is. The beautiful aspect to Nevin and Horler’s performances is that one does not ever see them ‘working’: we cannot see the acting, we are only absorbed by the truth of the characters.

John Gaden as husband Lyman is equally fitting in his transformation from loving family man to nervous wreck. It’s a demanding role which could very easily fall flat with a less-experienced actor or under the wrong direction. Gaden doesn’t disappoint with his direct and uncompromising performance.

Ian Meadows and Sue Jones as son Trip and Aunt Silda respectively begin as borderline caricatures, with pantomine gestures and postures. Fortunately, however, in spite of restricting themselves initially to exaggerated comic relief, Meadows and Jones do manage to absorb themselves in the unfolding drama, and by the end, both deliver powerful punches.

An obvious choice was made to stage most of the family drama in a living room behind large glass windows, to create the feeling that one is on the outside observing the action, like trapped fish in a bowl. While this technique was aesthetically interesting and in line with the play’s concept, it did, at times, prevent complete engagement between audience and drama. There was literally a wall between us, which more than likely prevented some great opportunities for intimacy.

Nonetheless, Strong has achieved great momentum with Other Desert Cities, helped in no uncertain terms by its brilliant lead actors, and this remains one of the most riveting and unforgettable plays of our generation.

Venue Southbank Theatre, The Sumner

Season dates 2 March to 17 April 2013

Tickets from $58, Under 30s just $33

Bookings Southbank Theatre Box Office 03 8688 0800 or mtc.com.au