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About Last Night

Terry Teachout on the arts in New York City

Don’t call it love

April 6, 2018 by Terry Teachout

In today’s Wall Street Journal I review an off-Broadway revival of George Bernard Shaw’s Pygmalion. Here’s an excerpt.

* * *

Most American theatergoers know “Pygmalion,” George Bernard Shaw’s most popular play, through “My Fair Lady,” the even more popular 1956 musical version. The “Hamilton” of its day, “My Fair Lady” was filmed in 1964, and between the screen version and the stage version, which Lincoln Center Theater is opening on Broadway later this month, it’s become surprisingly hard to see “Pygmalion” in its original form….

Now Bedlam, which specializes in radically reconfigured small-scale productions of the classics, is performing “Pygmalion” in an 80-seat off-Broadway theater in a production staged by and starring the prodigally gifted Eric Tucker, the company’s artistic director. As always with Bedlam, this slimmed-down revival, in which six actors cover 10 speaking parts, is joltingly original in its approach to Shaw’s 1913 play. Purists may not approve of the results—but I guarantee they’ll make you think.

If you’ve never seen “Pygmalion,” you may be surprised to learn that it’s a comedy, but not, unlike “My Fair Lady,” a romantic one. Shaw went to considerable trouble to make clear that Henry Higgins (Mr. Tucker), the haughty, anti-social professor of phonetics, and Eliza Doolittle (Vaishnavi Sharma), the low-born Cockney flower girl whom he endeavors on a bet to teach how to speak and act like a Vicwardian lady, entertained no romantic feelings for one another….

What resulted was an effervescent satire with a hacksaw-hard political edge. Mr. Tucker has deliberately sharpened that edge by turning his Eliza into an Indian immigrant from Delhi whose “depressing and disgusting” accent (as Higgins describes it) is an all-but-impenetrable mixture of Cockney and Hindi….

I wasn’t always convinced by Mr. Tucker’s decision to depart so drastically from Shaw’s explicit intentions. So what? When an artist of such originality opts to veer off the main road and go his own way, the smart thing to do is follow his lead and ask questions later….

* * *

To read the complete review, go here.

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Terry Teachout

Terry Teachout, who writes this blog, is the drama critic of The Wall Street Journal and the critic-at-large of Commentary. In addition to his Wall Street Journal drama column and his monthly essays … [Read More...]

About

About “About Last Night”

This is a blog about the arts in New York City and the rest of America, written by Terry Teachout. Terry is a critic, biographer, playwright, director, librettist, recovering musician, and inveterate blogger. In addition to theater, he writes here and elsewhere about all of the other arts--books, … [Read More...]

About My Plays and Opera Libretti

Billy and Me, my second play, received its world premiere on December 8, 2017, at Palm Beach Dramaworks in West Palm Beach, Fla. Satchmo at the Waldorf, my first play, closed off Broadway at the Westside Theatre on June 29, 2014, after 18 previews and 136 performances. That production was directed … [Read More...]

About My Podcast

Peter Marks, Elisabeth Vincentelli, and I are the panelists on “Three on the Aisle,” a bimonthly podcast from New York about theater in America. … [Read More...]

About My Books

My latest book is Duke: A Life of Duke Ellington, published in 2013 by Gotham Books in the U.S. and the Robson Press in England and now available in paperback. I have also written biographies of Louis Armstrong, George Balanchine, and H.L. Mencken, as well as a volume of my collected essays called A … [Read More...]

The Long Goodbye

To read all three installments of "The Long Goodbye," a multi-part posting about the experience of watching a parent die, go here. … [Read More...]

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