My Fair Lady, The Pennsylvania Shakespeare Festival,

What a surprising production this turned out to be. What could have been a perfunctory summer stock offering turned out to be quite a terrific experience for audience and performers alike--beginning with what may well be my most unforgettable opening night. What started as a beautiful midsummer day, turned nasty after dark as thunderstorms invaded the Lehigh Valley with a vengeance. All through the performance, the ominous rumble of thunder could be heard in the house and onstage; the lights occasionally flickered and sputtered a few times. A perfect night for Agatha Christie, but less that ideal conditions for the sentimental souffle that is My Fair Lady.

During and after "Rain in Spain," there were a few particularly noisy claps of thunder, so when Mrs. Pearce related that she had been awakened by some "pounding," Higgins asked me (Pickerieng) if I'd heard anything, I couldn't resist. "No, no," I deadpanned, "A bit of thunder,... but no pounding." The audience, of course, found this very clever and gave us a round. The storm seemed to let up by intermission and all was relatively quiet. Then, later, in the second Act, as I was finishing my phone call to "Boozy" at the Home Office, there was a big clap, one last flicker, a pop and after a moment, the emergency lights came on over the house. "Are you there, Boozy" Another big laugh. I ad libbed for a moment or two before I broke character and asked if anyone knew any good jokes, broke into a soft shoe, and filled a bit of time until Patrick (Mulcahy, Artistic Director of PSF) came down and took charge. A wait of about fifteen minutes while a few less hardy souls fled into the night ensued. Flashlights were assembled and passed among the cast and into the house, a rehearsal piano was wheeled onstage, and we finished the show in front of the set to tumultuous applause. The lobby reception was done in candle-light and as the last of the still asembled throng drove off into the night, the lights came back on in time for the clean-up crew.

All of this found its way into the press of course, and the houses were strong. It didn't hurt that our Eliza sang divinely, our Higgins personified acerbic wit and masculine charm and our Freddie had serious young pipes and a wonderful clownish presence and Doolittle had a delightful besotted earnestness coupled with a puckish persona. All in all the reviews were terrific (a sampling below) and a good time was had by all...

The Morning Post: Myra

Shakespeare Festival's 'My Fair Lady' sings with talent, charm

By Myra Yellin Outwater
Special to The Morning Call

''My Fair Lady,'' Lerner and Lowe's musical romp based on George Bernard Shaw's ''Pygmalion,'' has one of the most perfect scores I have ever heard, with one memorable song after another. And perfect is the word to describe the Pennsylvania Shakespeare Theatre's production, directed by Dennis Razze.

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Razze shows an innate appreciation for the classic Broadway musical. He respects its original Edwardian flavor, but uses many modern dance touches and whimsical details.

And perfect is the only word to describe the cast.

Alan Coates' Henry Higgins is a wonderfully brusque and insensitive curmudgeon, a cynic full of acidic wit. Coates is a very physical actor, striding and pacing across the stage with long, limber legs. His delivery is so polished and his pacing so professional that he makes Shaw's bon mots and witticisms funnier than ever.

Wayne Turney's Pickering is the perfect foil for Higgins' arrogant, self-centered pomposity. In fact, Turney's Pickering is the most loveable Pickering I have ever seen. And when he finally gets his chance to shine in the second act, he gives a tour de force performance with his quick repartee.

Christin Boyle is not only a beautiful Eliza, but a very spunky one. She is a real match for Higgins in every way. Her voice is lovely, her demeanor charming and she has an innate comedic touch. Her gestures and facial expressions imbue her Eliza with a dignity that is touching.

Michael Corr is almost too good to be true as the exuberant and gleefully amoral Alfred Doolittle. With a swagger or two or three, he exhibits a marvelous joie de vivre.

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Roxanne Parker is a feisty Mrs. Higgins. Sharon Grace Powers is a delightful Mrs. Pearce and Spencer Platchy makes Freddy an engaging but ineffectual charmer.

Mark Evancho's sets have an understated elegance and versatility. They flow from scene to scene like a slow-motion dance.

Higgins' study is a masterpiece of polished mahogany and Old World charm. The sweeping staircase becomes a useful stage prop again and again for Higgins, Eliza and the servants.

Lisa Zinni's costumes are full of gauzy, shimmering materials with delicate lace trims, graceful columns of pleats, jewels and flounces. Eliza's ball gown, cape and jewels and her street costumes are breathtaking. The Ascot black-and-white costumes are a visual treat and the earthy colors of the cockneys are evocative statements of class. The volumnious petticoats and flouncy skirts make the dancers even more graceful.

And, finally, Eric Haugen's lighting, particularly his pastels, create a romantic ambiance.