What others had to say*

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My Fair Lady
Howard and Sue Covel, Monday, August 2nd, 2010
Hi everyone:Just wanted to thank you for the wonderful time last evening watching you present, My Fair Lady. Each and every one of you were excellent in your part. We have seen this play many times, at many different theaters and this was by far the very best.Awesome, fantastic, and many thanks, we … more loved every minute.

MY FAIR LADY
Willy Rogue Donaldson, Friday, July 23rd, 2010
MY FAIR LADY has everything going for it in this lively production at MusicalFare Theater. You’ll be surprised at how many songs you recognize and enjoy, with a stellar cast, a flouncerie of costumes and rags, a fortuitous flapadapting set, and of course the furious Horses at Ascot. Eliza … more Doolittle, a sweet young woman with all her virtues strangely intact, sells flowers in one of the poorer parts of London. Here she is noticed by two men with linguistic backgrounds, one is Higgins, who knows every English accent in Great Britain, and can identify where a person was born by his accent. The other is Pickering, a renown linguist back from abroad. Both are from the Upper Classes of England, they note and discuss Eliza’s ‘orrible ‘aypenny accent. Well you know the rest, mostly. It all makes sense, a beautiful Cinderella story, at least until after the big party, when Higgins gets all the acclaim and congratulations, and Eliza, in her triumph, gets none. You see a good example of class structure, where all Higgins servants (a handy chorus for the drama) congratulate him. They not only identify themselves by their use to him, their emotional lives lift and fall as Higgin’s emotions surf the waves. Of course this was back when the British Empire was still intact and functioning at full bore, and to go into service was to have your life and emotions laid out for you like clothes for the next day. So convenient, these days you have to think about those things yourself. Such a pity. Well, then Eliza gets herself into a high dudgeon and scoots out of there, having discovered that throwing slippers at the master didn’t shift his viewpoint one bit. That part is logical, the ending of the play is dodgy. Somehow they both end up back in the Drawing Room of Higgins' house, not saying much to each other, but all seems decided, they are in love. I guess they get married (that would have made an opportune sequel) or just live together with the occasional spat (You were Nothing until I taught you How To Speak; Ha, You only bring that up when you have Failed at Yet Another Chance to be Human). Crash, splonk, twinnng. We in the audience don’t have to stay around for that, we’ve been treated to a grand spectacle, wonderful music, superior acting and singing, and can now saunter out into the evening terribly pleased. We could even Gavotte out, the gavotte being an old dance form that is somewhat like a march. But let's not do the Ascot Gavotte, in the musical this form has been slowed down to show the English at their Stateliest, and perhaps Silliest. It is still impressive and fun to watch as they trade lead. The two pianos accompany, listen for the musical decorations. Pianist and Musical Direction Jason Bravo, and Pianist Griffin Kramer. Christian Brandjes plays Henry Higgins in his brown suit, looking like an overgrown puppy and sounding like a young enthusiastic determined professor. He is confused by Eliza and his reactions to her, and asks the famous “Why Can’t A Woman Be More Like A Man” question. At the end of the play, when he realizes the zest has gone out of his life, He sings “I’ve Grown Accustomed to Her Face”. He seems to be singing about a softer person than Eliza has become, and that Higgins claims to admire. Nevertheless, that’s the script’s confusion, Brandjes wraps this role around himself like a fine leather glove. At the other end of the sociology of the play, Alfred P. Doolittle is Eliza’s father and a happier drunk than anyone you’ve met recently. He is not bothered by being thought a bum, he doesn’t want to do anything that would raise his situation and make him have to be middle class. Higgins even cautions Pickering not to press Doolittle with further questions, because his justification of his lifestyle is so convincing. Doolittle is a major let-loose role for any actor, but it takes a lot of invention and energy to make it bigger and over the top. Actor Philip Farugia as Doolittle is huge and impressive, and owns the stage in his part of town. He is the picaresque leader of the other characters as they sing and dance in such numbers as “With A Little Bit Of Luck” and “Get Me To The Church On Time”. My companion Miss Reindeer found Farugia’s acting the most impressive, but she did say a delousing was in order. As fine as Farugia was in the part, he wasn’t the only rogue on stage. The first three singers performed with great voices and tremendous jesterly caricature: Kevin Craig, John N. Kaczorowski, and that most fabled fool Jeffrey Coyle. Rounding out the singing and dancing ensembles were Kevin R. Kennedy, Anna Jones, and Kate Licata. Doug Crane plays the part of Pickering very well, a supporting role, almost thankless in being the bland voice of reason and gentlemanly support for both Eliza and Higgins. Kaczorowski also has a thankless role as still-there Freddie, the hangdog suitor. Sheila Connors plays the housekeeper Mrs. Pearce. Her speech and posture and wig give her the seriousness and authority needed for this part, otherwise her good looks might have raised suspicion. Ellen Horst plays Henry Higgins mother, Mrs. Higgins. If you thought Henry was a bit arrogant in his drawing room, you should enjoy seeing his mother deflate him with a few words. Horst gives Mrs. Higgins the mature British Upper Class treatment, Henry is withered, the Queen Herself would be impressed. In the role of Eliza Doolittle, newcomer Edith Grossman has a lot of singing to do. Her voice seemed a bit soft to me, but pretty. And her acting was convincing. She has to change quite a bit as Eliza goes through all this torture to become a totally different person in speech (and deportment, barely mentioned). She also has to change emotionally when she returns from the dance and is crushed by being seen as just a rebuilt thing. There’s a lot of withholding she has to do as the new Eliza throughout this scene, and then explode with frustration and anger. It all has to be done with her face since her dress and new demeanor prohibit much motion. Although of course, she “Could Have Danced All Night”. Director Susan Drozd has organized all this, and there is a lot. It is a long show which flies by, you don’t even notice it. Kristy E. Schupp has choreographed the show, most excellently, but who put all the movement into all the actors? Was this part of choreography, the Director’s hand, or the actors themselves? The set design is by Chris Schenk, it’s nice to see a traditionally staged show with a full stage Drawing Room with useful smaller areas and different levels. The blending in of the pianist is sweetly done. The Ascot Show is done in front of the curtain, but suggests a much larger area. Lighting and Sound Design by Chris Cavanagh, Costume Design by Kari Drozd. Don’t miss the Tin Cup Dance, or the Horse Racing, or the chance to Wow Your Sweetlips by taking her to see this show!

MY FAIR LADY
Doug Smith, Tuesday, July 13th, 2010
The following is Doug Smith's review from the Buffalo Rocket...At MusicalFare Theater, "My Fair Lady" is ready for her close-up. In the intimate Daemen College setting, the extraordinary musical plays if on a huge movie screen, 3D without the bother of spectacles. As the voices fill the hall, every … more flinch, twitch and hiccup becomes part of the plot. In scope, Rocket Man has grown accustomed to lesser fare at MusicalFare – casts of a half-dozen or fewer, and multiple musical revues. He’d not realized how small a street on which they live until “Fair Lady” walked down it. With a bit of luck and theatrical pluck, director Susan Drzod condenses with no loss of taste or vigor, enhanced by two pianos, practically parts of the set. In a classic example, the accentually-challenged Eliza, the stuffy linguist Higgins and the genial interlocutor Pickering flit back and forth, triangulating like an amusement-park Scrambler, repositioning as their perspectives change. That’d get lost on a big stage. Second example: the choreography of “Get Me to the Church,” 10 tosspots toasting in a symphony of pewter percussion. Drawn from G.B. Shaw and Greek mythology (about a sculptor falling in love with his statue), “Fair Lady” finds Eliza peddling posies, assessed by Higgins as “the incarnate insult to the English language.” Even as softened by the somewhat rumpled Christian Brandjes, Higgins is insufferable, and a Momma’s boy, besides. Purely for a lark, he wagers pal Pickering that he can dress up Eliza’s elocution so as to “pass her off” upper crust. First time ‘round, at the race course, she’s just half-Ascot, with the music but not the words, betraying herself by actually caring who wins. Above and beyond, there’s the astronomical joy of discovering a new star as Eliza, Edith Grossman, fresh out of high school, both a voice to cherish and an attitude to admire, gliding easily from prose into song, a little dusty with the Cockney. Perhaps that’s the point. Brandjes’ unimposing stature makes him a different style of Higgins; Edith’s actually a little taller, nervy and nice. Doug Crane gives intellectualism a good name as the pleasant Pickering. Among others Rocket Man was especially taken by John J. Kaczorowski as the lovesick Freddy, Ellen Horst as Higgins’ no-nonsense Mom and the rubber-faced Kevin Craig in a foaming six-pack of assorted roles. In “My Fair Lady,” MusicalFare mogul Randy Kramer has restored both a musical and Buffalo-area summer tradition. Nobody ever did it this well at Melody Fair and at MusicalFare, the chairs are loverlier. TEN ROCKETS (out of 10), through Aug. 7 at 4280 Main St., but anticipate a holdover.

My Fair Lady
Mary Loftus, Friday, July 9th, 2010
OK PEOPLE!!!! I NOW DECLARE IT: YOU WILL NEVER SEE A FINER, BETTER DONE PRODUCTION, THAN MUSICALFARE'S MY FAIR LADY!!!!!! TRULY!!!! MusicalFare never stints on their productions, but they pulled all the stops out for this one. It is just magnificent! It's not that the sets are elaborate, although … more they are great, or that every actor in it is obviously out of their head dedicated to the show; it is just a combination of wonderful talent doing their best to bring My Fair Lady to life. AND THEY DO...WITH GREAT GUSTO!!!! Starting with the multi-talented SUSAN DROZD, who directed with obvious love, and also did hair, wigs and makeup. (and there is a lot of that); and the great music direction under JASON BRAVO (who always does yeoman work for MusicalFare); the spare but effective set design by CHRIS SCHENK; lighting and sound design by CHRIS CAVANAGH; choreography (huge job) by KRISTY E. SCHUPP; and costume design by KARI DROZD. Everyone obviously put all they had into this show. AND THEN: THE ACTORS: OMG!!!! HOW GOOD THEY ALL ARE!!!!! CHRISTIAN BRANDJES as Prof. Henry Higgins, delightfully pompous and unaware; DOUG CRANE as a very attractive Pickering and bookend for Higgins; (if I were Eliza....but I'm not!) EDITH GROSSMAN (new to me) as a wonderful Eliza; totally convincing as a street girl and newly born debutante...with a lovely voice. PHILIP FARUGIA as a hilarious Doolittle; ELLEN HORST as Higgins' mother (and others in ensemble) JOHN N. KACZOROWSKI as the hopeful suitor Freddy and a director's dream ensemble comprised ofKEVIN KENNEDY; JEFFREY COYLE; SHEILA CONNORS; and KEVIN CRAIG. AND AT PIANO, the genius JASON BRAVO, ably assisted by GRIFFIN KRAMER. There are no slouches in this production. Everyone is obviously in love with the show and works to make it a total winner. I don't have to tell you the story...you would have had to be living in a deep cave not to know it...but it is brought charmingly and enthusiastically to life by this group. I say again, you will never see a better production of the show anywhere, anytime. I'll tell you how effective it is: everyone knows I am sort of a lone wolverine and have been for a long time. Well, on the way home tonight, I suddenly felt alone...no one loves me, boo hoo. I am embarrassed by that indulgence in self- and only tell you to say how deeply affected I was. (I'm fine now...) Runs to August 7th. GET THERE TO SEE IT. REALLY!(I receive no remuneration for these things, damn it.)I just cannot praise it enough!!! GREAT JOB PEOPLE!!!

My Fair Lady
Diane Jones, Thursday, July 8th, 2010
To Susan, the Production Staff, Cast and Crew:What a delightful musical My Fair Lady is! From behind the scenes to onstage it was just loverly. Congratulations on your opening night and enjoy a great run.

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