Review: My Fair Lady - Dundalk MS

Public Adjudication

Society name: Dundalk Musical Society

Show name: My Fair Lady

Date of attendance: 16^th October 2025

I was reminded, when attending Dundalk Musical Society’s production of ‘My Fair Lady’, just how popular the golden-age musicals still are with today’s audiences. Almost seventy years on from its premiere on Broadway, Tony Finnegan’s pacy production underlined the enduring relevance of such ‘classics’, balancing nostalgic warmth with a creative flair that kept us engaged and entertained from start to finish. A keen eye for storytelling, comedy and an acute awareness of the importance of pace, meant that this was a most engaging production of Lerner and Loewe’s classic musical tale based on George Bernard Shaw’s ‘Pygmalion’.

The front of house team in An Táin Arts Centre, did a fine job in creating a very welcoming atmosphere as the capacity audience arrived. Their cheerful tone was evident throughout the building as we took our seats in anticipation of being transported back in time to Edwardian London. There was an exceptionally prompt start to proceedings as the announcements began almost on the stroke of 7:30pm. I could count on one hand how many times I’ve experienced that over the years! A super job from all involved.

In the programme, director, Tony Finnegan, lists ‘My Fair Lady’ as one of his favourite shows and this was no surprise as we witnessed his care, clarity and attention to narrative detail at every turn. Pace was a key part of the success of this production and Mr. Finnegan handled this element so well, ensuring that each scene was delivered with vitality and fluidity, yet never compromising on thoughtfulness. The seamless flow between dialogue, song, and scene transitions demonstrated great familiarity with the material and a keen understanding of its challenges. There were so many impressive directorial touches which elevated the storytelling. I loved the clever use of the gauze which revealed the cast at the top of the show and finished Act 1 with a lovely picture as Higgins observed from downstage. Dialogue was beautifully pointed and nuanced throughout. Sometimes it’s the simplest of details that impress the most. There were many of these. Eliza listened intently when Higgins mentioned his address in Covent Garden. It is an ‘obvious’ detail that can often be missed. Act 2 scenes between Eliza and Higgins were as good as I’ve seen. These scenes had it all; comedy, exceptional pace, thought and genuine, heartfelt emotion. Their relationship was believable and avoided melodrama in favour of what felt like truth and sincerity. A most confidently directed production which was funny, poignant and full of energy, as required.

Musical Director, Elizabeth Freeburn, led an excellent 12-piece orchestra from her keyboard, bringing Lerner and Loewe’s classic score to life with great energy and polish. From the opening notes of the shortened overture, we knew that we were in for a musical treat. Tempi were well judged throughout, from the enthusiastic merriment of ‘Get Me to the Church on Time’ to the beautifully lyrical ‘I Could Have Danced All Night’. Ms. Freeburn’s connection with cast was noteworthy throughout. Entries were clean, cues were precise and there was very good attention to vocal dynamics. The only slight hiccup was in ‘Ascot Gavotte’ which was vocally strong but timing could have been tighter to achieve a more accurate, clipped delivery. There was excellent vitality and gusto in ensemble numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’, which allowed cast to perform with great character. 

It's not too often that I’ve come away from a production of ‘My Fair Lady’ in which choreography was a standout element of the show. Daniel Maguire’s choreography was exactly that. His cleverly devised routines would not have been out of place in a professional production. Every movement had purpose and, most importantly, was woven into the storytelling. Props were cleverly incorporated into Mr. Maguire’s choreography, which was always grounded in the narrative. Routines were character driven, bringing Edwardian London to life with great vibrancy, whether through exaggerated cockney swagger in Covent Garden or the stylised formality of the upper classes at Ascot. Cast were very well-rehearsed, sharp in their execution and their cheers and ad libs added wonderful energy and realism. Excellent work from start to finish.

Anna Maria Boyle was a very strong Eliza, the cockney flower girl with aspirations to become a ‘lady’. Ms. Boyle delivered a very intelligent, heartfelt performance, which was vocally most impressive. She was very conscious of her physicality throughout. There was a marked contrast between how she carried herself as an unrefined street urchin to her beautifully poised movement at the Embassy Ball. And yet we still saw flashes of the old Eliza bubbling under the surface, thus maintaining her character’s authenticity. Her character was elevated to another level post-transformation, as she came alive with her over enunciated, clipped delivery, in what was a very commanding performance. Comedic timing and delivery were excellent throughout, with the ‘marbles’ scene being one of many comic highlights, as was her aunt’s unfortunate demise, due to influenza! Ms. Boyle delivered some outstanding vocal moments. ‘Wouldn’t It Be Loverly?’ was sung with genuine warmth that showed intelligent connection with the lyrics. ‘I Could Have Danced All Night’ had beautiful tone and impressive phrasing. Chemistry with Higgins was palpable and her timing, upon her return to Wimpole Street in the final scene, was just perfect.

James McGinn gave a commanding and nuanced portrayal of Higgins. His excellent, natural delivery style demonstrated a wonderful understanding of text. Mr. McGinn had it all; presence, clarity of diction and very impressive timing. He skilfully balanced self-righteous arrogance with moments of confusion at his own feelings, avoiding the bombastic caricature that Higgins can often become. He had an expressive, baritone voice and was able to deliver his patter songs with great precision. ‘Why Can’t the English?’ was a perfect example of his exceptional diction, humour and expression. ‘I’ve Grown Accustomed to Her Face’ gave us a glimpse of tenderness beneath his pompous exterior, in what was a beautifully considered performance. 

David Bradley was a solid Colonel Pickering. His warmth and integrity balanced nicely with Higgins’ gruffness. Mr. Bradley had good stage presence and his diction was generally strong. He really came into his own during his phone call scene, during which he demonstrated good pace, comic understanding and delivery. Vocally, his light baritone was nicely effective in the congratulatory ‘You Did It’.

I really enjoyed Daniel Farrell’s sprightly Alfred P. Doolittle. His energetic exuberance, rich voice and sharp comic timing brought each of his scenes to life. He was quite the mover too. ‘With a Little Bit of Luck’ was great fun and the wonderful ‘Get Me to the Church on Time’ brought the house down. Mr. Farrell infused his character with an endearing, roguish charm, ensuring that he had the audience in the palm of his hand from his first entrance to his final bow. 

Marc Byrne and David McArdle were a perfectly cast duo as Alfred’s sidekicks, Harry and Jamie. Their energy was infectious and they played wonderfully off one another, with plenty of comic interplay and cheeky physicality. Their animated movement and expressive faces brought great fun to numbers such as ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. They had an excellent rapport with Mr. Farrell and led from the front in setting the dynamic tone of their ensemble scenes.

Max Valentine (surely the coolest stage name ever!) displayed a lovely blend of earnestness and charm in the role of Freddy. This was a very impressive performance. Mr. Valentine had excellent presence, good comic timing and his delivery of dialogue showed a really keen understanding of the narrative. ‘On the Street Where You Live’ was joyful, showcasing his expressive tenor voice. This was a very assured and emotionally sincere performance, filled with a genuine sense of romantic hope. 

Patricia Savage brought all the necessary pomposity to the role of Henry’s mother, Mrs. Higgins. She balanced her quiet, no-nonsense authority very nicely with her evolving warmth towards Eliza. Her dry wit and well-timed reactions were subtly delivered and understated. Ms. Savage’s withering glances of disapproval left us in no doubt as to who was actually in charge in the Higgins family. 

Treasa Ní Chuinleabháin gave a well-judged performance as Higgins’ pragmatic yet compassionate housekeeper, Mrs. Pearce. Her initial exchanges with Eliza were quite sharp and dismissive but her stern exterior melted as she too warmed to her. Her interactions with Higgins were humorous, as she brought realism and warmth to the chaos around her.

Ashley Copas-McCormack impressed in the role of the sharp-tongued Mrs. Hopkins, proving the adage that there is no such thing as a small part. She was delightfully expressive and had excellent diction and projection. Her characterisation was full of energy and she was a standout member of the ensemble. We really needed to see more of Mrs. Hopkins. A spin-off, perhaps? 

The myriad supporting roles were given good attention to detail also, adding great depth to production in general.

The ensemble work was consistently strong. From the Covent Garden crowd, to the Ascot elite, to the embassy revellers, they all had the commitment and energy required. Ensemble members were in tune with the narrative throughout, always acting and interacting appropriately. There was great work from the maids in their harmonies and storytelling during ‘The Servants’ Chorus’, giving us some standout moments. Each ensemble member contributed to building the atmosphere of the piece, maintaining wonderful energy and focus throughout.

A minimalist set design, deriving inspiration from the Art Nouveau movement, allowed the story to flow seamlessly. The imposing portrait of Eliza, a replica of the iconic cover of Shaw’s ‘Pygmalion’, served as a backdrop of sorts. For me, it was a symbolic reminder that, despite the transformation at the centre of the story, Eliza’s true identity never changes. Multifunctional doorways were used well to suggest different locations, providing entrances and exits to Covent Garden, the pub, Higgins’ study, Ascot and the Embassy ballroom. The raised upstage area provided interesting staging opportunities. This excellent, minimalist design allowed for speed and efficiency in transitions, never disrupting the rhythm of the performance. This simplicity ensured that the focus remained exactly where it belonged; on the performers and the storytelling. 

Stage manager Niall McCooey and his crew deserve much praise for their smooth coordination. Scene changes were executed silently and swiftly, with every crew member with purpose and great efficiency. The transitions in and out of Higgins’ study, in particular, were very well choreographed, maintaining a brisk momentum throughout and allowing the show to move with great pace and fluidity. An excellent team effort.

Lighting was a standout feature of this production. From the atmospheric preset alone, it was clear that this element of the production was in safe hands. A minimalist set requires clever lighting design and that was exactly what we got, with subtle changes indicating various changes of location. Dappled floor lighting suggested cobblestoned streets of Covent Garden and the window gobo on the study floor was a lovely effect. Back light pouring through the upstage left doorway as patrons exited the pub, added a depth of realism to the set. I loved the subtle lighting changes within musical numbers, particularly during dance breaks, which served to heighten the atmosphere and complement the mood. 

Sound was of a very high standard. The orchestra was perfectly balanced and the balance between pit and stage was very well handles. Cues were accurate and sound effects were well chosen and highly effective, when needed. The recording of Eliza’s voice was wonderfully authentic, complete with static interference. The only issue noted was an imbalance between vocal parts in ‘Get Me to the Church on Time’, a tricky one to get right with so much choreography and energetic movement on stage. A super job overall.

‘My Fair Lady’ is a real ‘prop heavy’ show. Full credit to the props team, who demonstrated an eye for authenticity and period accuracy. The flower baskets, phonographs and phonetic equipment all looked appropriate to the Edwardian era. There were some very impressive pieces, including the chamber pot, the carpet beater, and the fabulous icepack. The furnishings and prop dressing in Higgins’ study were perfectly suitable, as were the garden furniture pieces. The Royal Opera sign advertising Verdi’s ‘Aida’, amended to Wagner’s ‘Gotterdammerung’, was a musical nerd’s delight, demonstrating great attention to the narrative detail. Excellent work from all.

There was, generally, good attention to detail in the costume plot, which clearly reflected the class divide. Covent Garden costumes were suitably grubby, creating a believable picture of the working class of the day. Eliza’s transformation was very well handled, with her glamourous reveal adding greatly to the theatricality of the show.  Higgins’ suits clearly communicated intellect and status. I was particularly impressed by the attention to detail given to his frequent change of footwear. Doolittle’s cockney swagger was well captured and Mrs. Higgins’ outfits were suitably pompous. Freddy looked every bit the romantic dreamer in his suit, however, the decision not to wear a hat outdoors in his opening scene would have gone against the social etiquette of the time. The Ascot scene was a triumph. The gentlemen were meticulously turned out in their grey tails and top hats. The ladies were equally stunning in monochrome attire and a fine array of delightfully over-the-top millinery. 

Hair and make up were generally well handled, with good attention to detail in recreating the hairstyles of the day and some interesting wigs on display. I did feel that Doolittle needed to be aged and that some greying of his hair and beard would have complemented his character. The ladies of Ascot were pristinely presented, adding greatly to the stuffiness of their characterisation. Overall, very good work in capturing the looks of the era.

This was a most entertaining production of Lerner and Loewe’s classic musical. From the thoughtful direction to the fine musical presentation, to the excellent choreography, no stone was left unturned in maximising all available resources to present a thoroughly engaging production to be very proud of. Storytelling was front and centre at all times; exactly as it should be. Simply loverly! 

Pat McElwain

Sullivan Adjudicator 2025/2026