Review of ‘My Fair Lady’ (The Mill at Sonning 2025): “Intimate revival secures acclaim with a bit of luck”

The venue welcomes the Christmas season with a new production of Lerner and Loewe’s timeless piece. Guillermo Nazara shares his views on the show to let us know whether this latest incarnation is good enough to grow accustomed to her face.

They could have danced all night. And I could have watched them all day long. I may be an ordinary man, but I know what I like — just like I also know what I detest. Yet it seems my bilious arsenal will remain under lock for Sonning’s latest revival of Lerner and Loewe’s classic. There are enough things to praise. And just one or two to raise an eyebrow for. Just you wait.

Anyone familiar with the pilgrimage to the venue adjacent to George Clooney’s house (picture taken) knows the deal. And for many, that’s our unspoken reason for coming to review. Food, glorious food! After all, this job doesn’t pay the bills as generously as it should. And a copious Christmas lunch could temper down even the bitterest critic. No all-you-can-eat buffet anymore, though (oh, the humanity!), but its succulent menu, inviting ambiance, and excellent service make up for any unfulfilled desires for hibernation supplies.

We didn’t have to wait much for another production of My Fair Lady to arrive. And to say that idea felt like a punch to the throat is an understatement. Those who saw the UK tour version that landed at the London Coliseum three years ago surely would understand — even if they don’t dare to speak the truth out loud.

Maybe because I needed to cloud those memories with something new, or maybe due to some repressed sadistic tendencies, there I was last Saturday at the venue’s press performance. It wouldn’t take too long to realize it’d been a smart move. In many aspects, the production is flawless. And if a few of them, a tour de force.

There is as much as you can do in the thrust stage of a 6-row theatre. There’s no fly tower, barely any wings, and virtually no space in the back to hide any extra elements of scenery. Still, they’ve made it happen, and in quite a clever and dynamic way.

Diego Pitarch’s minimal set conveys both lushness and variety. A bricked deck transitions into a marble centre disc, subtly evoking the contrast between Eliza and Henry’s worlds while effectively transporting us into both. A fume-stained stone backdrop supports three bay windows looking to the sky — its colour changed by the tone of each scene. A green curtain, sliding half walls, and a handful of props complete the atmosphere, assembling a compelling picture that brims with intricacy and resourcefulness.

Natalie Tichener’s costumes are lavish and detailed. You can’t go cheap when depicting Higgins’ universe, and her designs exude opulence, elegance, and historical accuracy on a level that you’d expect from an A-list production. The same goes for Joseph Pitcher (also director) and Alex Christian’s exquisite choreography, which overflows with complexity, stamina, and flair, resulting in an impeccable balance of virtuosity, expressiveness, and spectacularity.

Charlie Ingles’s orchestrations showcase craftsmanship and vividness. Keys provide the score’s foundation while violin countermelodies and occasional banjo chords build its identity. Simple but potent — and ultimately, extremely satisfying. And the fact that some instrumentalists perform onstage in period clothes is a touchstone to their credit.

The entire ensemble regales audiences with a glowing rendition that teems with rapport and showmanship. Mark Moraghan has one of the most memorable appearances as Eliza’s father, Alfred, exhibiting remarkable acting skills, competent vocals, and refreshing drollery. The highest praise, however, goes to Nadim Naamam for his exceptional portrayal of Henry Higgins — snobbish but charming, volatile but good-hearted, commanding but gentle, and eventually, extraordinarily sincere.

Simbi Akande brings poise and adequacy to the role of Eliza, but her approach isn’t fully polished. We can’t say that her Eliza does little to captivate us. Yet, it would be fair to say that sometimes she doesn’t do enough. While her singing is capable, her minor struggles with the character’s highest range are noticeable. Simultaneously, her interpretation of Eliza’s lower-class origins isn’t quite believable — it feels closer to pretense instead of a genuine underdog wishing to climb the social ladder.

Beyond those blemishes, the production stands as a proficient execution of Lerner and Loewe’s timeless piece. The care and aptitude that imbues every part of it make it a flower market of elaborateness, where we can confidently shout “You did it!” to creatives and performers alike. With such a roster of achievements in its pocket, I only hope other revivals could take inspiration from this one, for wouldn’t it be loverly if so many other shows were like this?

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All pictures credit to Pamela Raith.

My Fair Lady plays at The Mill at Sonning until 17 January. Tickets are available on the following link.

By Guillermo Nazara