PYGMALION by George Bernard Shaw (Shaw). Festival Theatre, Niagara-on-the-Lake. Runs in rep through October 24. $35-$126, stu from $25. 1-800-511-7429, shawfest.com. Rating: NNNN
Director Peter Hinton tells you right from the start whos at the centre of his version of Pygmalion, the tale of a Cockney flower girl who, after being given elocution lessons, passes as a duchess.
In Hintons contemporary staging of George Bernard Shaws play, its not Eliza Doolittle (Harveen Sandhu) but rather her teacher, Henry Higgins (Patrick McManus), who gets our attention in a performance pre-show, skulking behind Eo Sharpes black columns, an isolated man observing passersby and recording their voices on his iPad.
In this modern London, the haves and have-nots are as sharply divided as in Shaws original tale written a century ago, though now theyre as much distinguished by race as by social rank.
A BBC video during the first scene change, in fact, discusses seven social classes. Video and electronics are a major part of this production, lit by Kevin Lamotte with projection design by Beth Kates and Ben Chaisson. Higginss home is full of equipment that the self-impressed man uses, consciously or not, to distance himself from the outside world.
Boorish and unconcerned with others, hes still more lively than the stuffy society people who frequent the stylish fashion salon of his designer mother (Donna Belleville), like the elegantly dressed Ensford Hills (Julain Molnar, Kristi Frank and Wade Bogert-OBrien, the last innocent in a way Eliza never is).
Mrs. Higginss studio is the location of one of the shows best scenes, in which the now-chicly apparelled Eliza (Christina Poddubiuks costumes are indeed eye-catching), spouting carefully coached, content-free phrases, reveals more about herself and her family than she intends.
In the original script, Elizas exit line included the then-scandalous word bloody the actor, Mrs. Patrick Campbell, apparently risked her career by speaking it onstage. Here Hinton updates the word, getting one of the plays biggest laughs and a rare moment of shock.
There are other memorable episodes, too, including that in which Henry and Eliza fight after her coming-out success. He thinks more about his slippers than the feelings of his creation, and she couldnt be angrier.
Still, not every element works. The first scene, set in Covent Garden, could be better focused and involve us more with the characters.
The cast is strong, especially Sandhu, whose Eliza changes from street-smart to society-wise, in the process learning how to best her inconsiderate mentor. Heres a woman who grows from a spiky, whiny grub into a shimmering, self-aware butterfly, and the transition is wonderful and winning.
McManus intentionally isnt a likeable figure, though later in the play his Higgins shows a touch of growth and sympathy. Jeff Meadows as Pickering, his confederate in turning Eliza into a lady, is also an aloof figure, though he learns the lesson of kindness toward their protege earlier than Higgins.
The elocution teacher never quite loses the quality of being a recalcitrant child, especially around his mother. Bellevilles Mrs. Higgins demonstrates a concern for Eliza and knowledge of others needs that make her the shows most sympathetic and worldly character.
As Doolittle, Elizas father, Peter Krantz fits perfectly in a staging where sound bites rule the media. This initially rough character is a street cleaner whose eloquence catapults him with Higginss help into the role of celebrated TV personality, complete with entourage his new position unhappily straitjackets the man in dreaded middle-class morality.
