Review: My Fair Lady - Newcastle West MS

Society name: Newcastle West Musical Society

Show name: My Fair Lady

Date of attendance: 7^th November 2025

When I was but a pup, only ten years old, my family moved temporarily to Newcastle West, Co. Limerick, where I spent the final two years of my primary school education before heading on my way to explore the big, bad world. I had never even seen a musical in those days and it would be almost another three decades before a musical society would be formed in the home of Ballygowan spring water. By then, I was long gone from NCW. And so, it was with a genuine pleasure and a sense of nostalgia that I returned to west Limerick to see my fourth show of the season.

There are few things that capture the spirit of a community like a musical society putting on a show in a local hall. Newcastle West Musical Society transformed Feohanagh/Castlemahon Community Hall into Edwardian London as they took on Lerner and Loewe’s golden-age classic, ‘My Fair Lady'. Susan Browne, the society’s driving force, wore multiple hats as she took on the roles of director, choreographer, chorus mistress and set designer; an unbelievable feat to keep all those plates spinning! This was a production which wasn’t driven by big budgets or limitless resources but by teamwork and a genuine love for musical theatre. It was a very heartwarming and enjoyable community effort which brought home the reason why this wonderful pastime continues to thrive. 

Every effort had been made to create a welcoming and atmospheric space as patrons arrived. The front of house team had clearly gone the extra mile and the foyer was quaintly and subtly decorated to give a flavour of Edwardian London. The welcome was warm and sincere and it was lovely to speak with the show’s director and producer as they spoke enthusiastically about the society’s history and the fact that everyone involved was working voluntarily, apart from the sound department which was hired in. 

Susan Browne’s direction was intelligent and careful, for the most part. Her love for the material was clear throughout. She had a good handle on the style of humour required and she guided her cast with a sure hand. Her staging made good use of the space and she allowed scenes to flow naturally and actors to perform with confidence. Pacing was generally strong. Ms. Browne encouraged strong performances from her cast and even drew humour and warmth from the smaller roles. There was a palpable rapport between the performers, a sign of good leadership. The emotional chemistry between Eliza and Higgins was most convincing, hitting just the right dramatic and comic tone. I felt that a few minor things required more attention to detail. Often, it is the smaller things that stand out. The butler told Higgins that Alfred was “downstairs” yet went up the steps when asked to “show him up”. This is a tiny detail but it jarred. Overall, Ms. Browne deserves huge credit. The energy and commitment required to pull her cast and crew together so well in her multiple roles was quite remarkable. 

Elaine Davern’s musical direction was resourceful and very impressive, given the scaled-down orchestra used by the society. Five musicians were credited in the programme. However, on the night that I attended, only four were present. Violin, electric bass, and drums were played by a talented trio of volunteer musicians, led exceptionally well by Ms. Davern on keyboard. Ms. Davern covered a multitude, filling in gaps left by the absence of strings, brass and woodwind. There were a few tuning issues in the overture as the violin tried to cover familiar melody lines but there were no noticeable inaccuracies once things settled. That said, it was difficult not to feel the absence of key instruments as some of the score’s colour and texture were inevitably lost. Still, the group deserves great credit for taking on such a mammoth show with limited resources, and for doing so with such obvious passion and skill. Choral singing was full of enthusiasm throughout. The ensemble sound was warm and diction was very good. ‘Get Me to the Church on Time’ had an infectious energy that brought the audience along on the crest of a wave. Solo singing was very strong throughout, with excellent performances from all principals. Overall, whilst the big, familiar orchestrations may have been lacking, there was no shortage of talent and commitment from cast and musicians, which more than compensated.

Susan Browne’s choreography was simple but highly effective. Ms. Browne cleverly devised achievable routines suited to her cast’s experience. Dances were so well disciplined and rehearsed, with sharp, synchronised movement impressing greatly. ‘Get Me to the Church on Time’ had great life and energy. One particularly noteworthy thing was how Ms. Browne had clearly instilled strong performance levels and personality in her dancers. There was a palpable joy bursting off the stage as everyone gave their all. ‘The Ascot Gavotte’ was another standout sequence, performed with great rigidity and grace. Again, Ms. Browne’s cast knew the gig and their precision and deadpan movement showed great comedic understanding. The ensemble was clearly aware of their place in the narrative and their commitment to this made even the simplest of routines shine.

Dave Wrenne was a wonderful Henry Higgins. He captured both the professor’s arrogance and vulnerability in what was a very considered performance. His timing and characterisation in ‘I’m an Ordinary Man’ and ‘A Hymn to Him’ was brilliantly timed and full of dry humour. Mr. Wrenne intelligence as an actor and his clever command of language made him a natural Higgins. He also had an impressive emotional range. ‘I’ve Grown Accustomed to Her Face’ was one of the highlights of the show, for me. With only Mr. Wrenne on stage, we were drawn into his world, as he gave us a glimpse of a different Higgins; one who was clearly quite vulnerable behind all the bluster. It was a wonderful example of storytelling through song. He brought nuance and maturity to the role, balancing his snobbish exterior with the reality of his loneliness. Overall, a very strong and memorable performance.

At just 18 years old, Leaving Cert student Regina Burke’s portrayal of Eliza Doolittle was most impressive. She showed enormous potential and a maturity of performance well beyond her years. Her rich singing voice was beautifully controlled and expressive. ‘Wouldn’t It Be Loverly’ was warm and sincere, whilst ‘I Could Have Danced All Night’ soared effortlessly. Her early scenes had the natural roughness we expect of such a “squashed cabbage leaf”, although I did feel that more needed to be done to perfect the cockney accent. As the show progressed, Ms. Burke evolved so convincingly into the utterly transformed, articulate young woman. She will have learned so much from playing such an iconic role and I have no doubt that the opportunity will arise for her to play Ms. Doolittle for many years to come. Excellent stuff!

Dinny Ahern gave us a charming and sympathetic portrayal of Colonel Pickering. His early scenes were especially strong. However, in the second act, I felt that his wonderful accent began to slip on occasion. His presence was warm and engaging and his scenes with Mr. Wrenne provided many of the show’s humorous highlights. Mr. Ahern had wonderful physicality and was very aware of how he stood and moved at all times. His comic delivery was also particularly strong, with his phone call to Scotland Yard showing his comedic skill, in what was a very funny moment. Super work all round.

Caroline Walsh was superb as Mrs. Higgins. She was elegant and commanding, taking no prisoners with her no-nonsense approach. Her diction was excellent and she had a very good understanding of pace. Comic delivery was wonderful as she revelled in the role’s dry humour Her rapport with Eliza was excellent and I loved their final scene together. 

Paul Moriarty’s Alfred Doolittle was full of personality and charm. His humour and mischievous grin delighted the audience, particularly during ‘With a Little Bit of Luck’ and ‘Get Me to the Church on Time’. He may not thank me for this but Mr. Moriarty looked every inch the drunken layabout with his wonderful physicality and his deliciously messy costume. He had a powerful singing voice which was most impressive during his big numbers, where his loose dance moves worked perfectly for his character. He had a natural comic touch and never gave in to the temptation of overplaying. A really enjoyable performance from start to finish.

Robbie Moriarty was an earnest and appealing Freddy. His performance of ‘On the Street Where You Live’ was one of the high points of the night; well-sung and beautifully sincere. Mr. Moriarty’s fine baritone and wonderful expression brought so much to his characterisation. His sweet infatuation with Eliza was nicely played and he had a light comic touch which endeared Freddy to us from his very first appearance. 

Dolores Broderick was a steady, sensible presence as Mrs. Pearce, Higgins’s long-suffering, Scottish housekeeper. She balanced humour and authority well, particularly in her early exchanges with Higgins. Her clear diction and delicious accent added much to the role and she contributed strongly to group scenes with her fellow servants.

Adam Noonan and Brian Burke were a most talented duo as Alfred’s sidekicks Harry and Jamie. They bounced very well off one another and brought wonderful energy and expression to all of their scenes. They shone in the bigger production numbers and played very well against Mr. Moriarty.

The ensemble played a big part in bringing the show to life. With a mix of ages, they showed great energy and commitment, especially in the big group numbers. I was very impressed with the younger performers who really stood out for their enthusiasm and willingness to throw themselves into the action. The experience gained by these younger performers will, no doubt, ensure future success for the society for another sixteen productions and beyond. There was great energy in numbers such as ‘Get Me to the Church on Time’ and ‘With a Little Bit of Luck’. Choral numbers were very well performed and the overall impression was one of great enjoyment being had by all. 

The set design was a great example of the triumph of imagination within limits. Multiple locations were achieved with minimal fuss. The action was framed by four large marble pillars, which were very nicely painted. The trucked, upstage book flats worked very well, giving us the exterior scenes in Covent Garden, then reversing to reveal the wallpapered interior of Higgins’s study. The steps leading off gave an added dimension to the house. It was a very clever design which allowed for fluid scene changes. The Old Inn was an impressive piece, with its large double doors and well-painted signage. Ascot was very cleverly realised with the bunting hanging from the centre-mounted pole and the white picket fencing. My only quibble with this scene was the visibility of the lights and cables in front of the cyc. The front door of Higgins’s residence was wonderful and I particularly loved the detail of the lamp inside the door, giving a real sense of a lived-in space. I loved the very simple but effective draped entrance to the Embassy and the transformation to the garden was very well realised with the picket fencing and trellis. Nice work from all involved.

Stage management, under the direction of Tom Madigan and Maurice Nunan, was impressively efficient. Scene changes were executed quietly and smoothly. Crew members moved with purpose and efficiency at all times. One or two small glitches (that stage right tree proved challenging at times) were quickly forgiven. ‘My Fair Lady’ is such a tricky show to stage manage, as we jump back and forth between the study and exterior scenes. It has the potential to descend into chaos and disrupt the rhythm of the show. Not so on this occasion. Well done to all.

Lighting was the weakest technical element of the production, although it was clear that the issues arose more from limitations of equipment than lack of effort. The main problem was a lack of consistent front light, meaning faces were often lost in shadow, with particular ‘dark spots’ being very noticeable throughout the performance. Cueing was also an issue at times. The large white cyc, though used to create colour washes, didn’t always deliver the required atmosphere. In particular, there were missed opportunities during the servants’ “Poor Professor Higgins” sequences, which could have benefited from a more theatrical or isolated lighting treatment. 

Sound was generally very good throughout. One of the advantages of not having a full orchestra was that cast weren’t competing with musicians and it was a much easier mix for the sound department. The balance between singers and musicians was very well maintained. Dialogue was very clear, with appropriate EQ levels. Cueing of microphones was generally solid. The hall’s acoustics could have been challenging but good mixing ensured that this was well handled. Overall, a well-managed and professional job.

The props department had been busy and most resourceful. From flower baskets in Covent Garden white garden chairs at Ascot, when things were good, they were very good. There were a few exceptions though. Men ‘drank’ from empty beer bottles and Pickering’s newspaper had colour advertisements and photographs as well as crosswords. (crosswords didn’t appear in British newspapers until the 1920s) These kinds of details matter. That said, there were also some very impressive and authentic pieces, such as the phonographs in Higgins’s study, Pickering’s pipe and the trolley with its various decanters. Overall, a really good job, with props adding realism throughout.

For the most part, costumes were well sourced and presented. However, there were some inconsistencies. Modern footwear occasionally broke the illusion, and the maids’ uniforms, which were cut above the knee, were rather ‘un-Edwardian’. Similarly, Alfred Doolittle’s costume shop top hat took away from his otherwise polished wedding attire. Freddy’s slim fit trousers in Act 2 were far too modern looking. All of that said, the costumes generally supported the storytelling very well and the audience’s enjoyment was in no way diminished by these minor issues. 

Hair and makeup weren’t always consistent with the era. Principals were, generally, well presented. However, I felt that some of the ensemble ladies, both in Covent Garden and as servants, appeared too modern in their choices, with bright red lipstick and contemporary eye shadows jarring somewhat. Simpler, softer tones would have been more in keeping with the Edwardian era. Hairstyles didn’t always sit comfortably in the setting, with some modern hairstyles (Freddy’s in particular) taking away from the visual authenticity.

Newcastle West Musical Society’s ‘My Fair Lady’ was a wonderful example of what volunteer-driven community theatre can achieve with passion and raw talent. It was clear that this was a labour of love for everyone involved, especially Susan Browne, whose heart and soul had gone into every aspect of the production. It was a production that wasn’t all about professional polish but about people coming together to celebrate a common passion. With a little investment in technical elements and continued nurturing of young talent, I have no doubt that this talented society will continue to go from strength to strength. 

Pat McElwain

Sullivan Adjudicator 2025/2026