Musical theatre came of age on Broadway when “Oklahoma!” stunned audiences for the first time in March 1943. The American Musical was born – surely one of the great artistic creations of modern times. Before Rodgers and Hammerstein, on screen and stage, popular musical theatre had been jolly, often tuneful, but shallow fluff. You might leave the theatre or the cinema whistling the tunes – but you won’t remember the banal and trivial story. Chichester Festival Theatre did one of those period pieces last year with “Top Hat”. Bouncy, breezy and energetic it was – but instantly forgettable. But this year they have atoned themselves with a production of one of Broadway’s greatest achievements – Lerner and Loewe’s “My Fair Lady”.

It took Americans to tell a quintessentially English story. “Pygmalion” was George Bernard Shaw’s characteristically uncomfortable (for some) telling of a story that dramatised some of the social and behavioural conflicts of Edwardian England. It held a mirror up to the class and wealth differences in the London of those times. The gap between the lifestyle of Henry Higgins in Wimpole Street (rich and privileged) and Eliza Doolittle in Lisson Grove (an area notorious at the time for extreme poverty, alcohol abuse and crime) is unbridgeable. “My Fair Lady” interrogates the rigid constraints of the Edwardian class system, demonstrating how social status in Britain is artificially manufactured through speech and phonetics. It critiques the commodification of Eliza Doolittle by upper-class intellectuals who treat human identity as an experimental project.
So “My Fair Lady” is very much part of the genre of American Musicals with a subtle but visible openness about social issues that emerged strongly in the 1950s and 1960s :
“Oklahoma!” Premiering during the final years of World War II, it is often viewed as a patriotic celebration of American pioneering spirit, but it subverts standard pastoral tropes by examining the deep-seated friction between settled farmers and nomadic cowhands. The darker undercurrents surface most clearly through Jud Fry—an isolated, working-class outcast whose ostracisation and tragic fate expose the violent exclusions upon which orderly agrarian communities were built.
“South Pacific” Set on a South Pacific island during World War II, the musical directly confronts American racial prejudice through the song “You’ve Got to Be Carefully Taught,” which argues that hatred is a learned behaviour passed down by society.
“The King and I” Examines the friction between Western modernity and traditional Eastern hierarchy, highlighting the plight of enslaved concubines and advocating for female autonomy within absolute monarchy.
“Finian’s Rainbow” A whimsical fantasy that grounds its satire in real-world American bigotry, featuring a bigoted Southern senator who is magically turned Black, forcing him to experience systemic discrimination firsthand.
“West Side Story” Transposes Shakespeare’s Romeo and Juliet to the Upper West Side, addressing the hostility faced by Puerto Rican immigrants and the systemic failure of social institutions to help marginalized youth.
“Cabaret” Uses the decadent, amoral atmosphere of Weimar Berlin as a warning mirror for contemporary American complacency in the face of creeping fascism and antisemitism.
The Chichester production deftly honours the Oklahoma! (and later) trend for acute social observation in the American Musical theatre. It sticks closely to the plot and action created by Lerner and Loewe. The production thankfully eschews the regrettable trend to mess with the classics. In 2023 there was a production of Oklahoma! at Wyndhams Theatre which was boasted as “Oklahoma! as you’ve never seen it before – re-orchestrated and reimagined for the 21st century.” I thought that it was beyond ghastly!
The Chichester audience is mostly elderly and many if not all will have seen My Fair Lady on the stage before and certainly the movie. The latter did not greatly deviate from the theatre productions. I don’t think they would have welcomed a “reimagined” version and I’m pleased to say they didn’t get one !
My Fair Lady is a long musical and a challenge for any cast and production team. The Chichester Festival Theatre met this challenge totally. It was musically outstanding and well sung. The dancing was exceptional – “I’m getting married in the morning” a tour de force. The principals – Hadley Fraser as Higgins and Keziah Ibe as Eliza couldn’t have been more contrasting castings. Fraser is a hugely experienced actor including major roles in Les Miserables and Phantom of the Opera. But it was Ibe’s professional debut. Both were outstanding. The theatre took a risk with the casting of the tyro Ibe in the key role of Eliza but she was a triumph. The two accents, cockney and posh, she handled with equal facility. She also sang well and acted this difficult part believably. A star is born.
We have too many juke box musicals cluttering up our stages these days. From Mamma Mia onwards the offering may have good song and dance but the story, if there is one, is secondary to that. My list earlier in this blog of musical theatre that matters is far from complete. “My Fair Lady” is one of the great American musicals. The Chichester production confidently confirms this.














