Pygmalion – Royal Exchange Theatre, Manchester

Writer: George Bernard Shaw

Director: Greg Hersov

Reviewer: David Leith

The Public Reviews Rating:

It is a story that has become synonymous with British culture; the common cockney flower girl stumbles across a bachelor who in a traditional rag’s to riches tale transforms her into a gentile well spoken member of society. Pygmalion, arguably George Bernard Shaw’s most famous texts is rich with character and explores his staunch criticisms of the Victorian age. The story seems simple yes, but beneath the elocution and decorum is a devastating critique of the English Class system and Greg Hersov’s Production at the Royal Exchange doesn’t lose sight of this.

Shaw had a gift for developing strong and amiable characters and in Hersov’s production the strong ensemble of actors curate Shaw’s powerful words effectively. Cush Jumbos Eliza brings what you would expect to the role; a comical start as the lairy cockney and a likeable and sympathetic portrayal of the transformed Eliza. Simon Robson’s Henry Higgins, despite his misogyny and snobbery is sharp and comedic and at times a congenial force despite his outward cruelties towards the plays central female. The relationship between Eliza and Higgins, which has been subject to much ambiguity over the years, is executed well overall. The on stage chemistry between Robson and Jumbo is initially strong and is at its best in Shaw’s moments of obvious comedy. For the most part it is alluring, fun and convincing. However, for the latter part when Eliza’s transformation goes above the physical and into the political, transitioning from the comedic to the serious there was a lacking in substance. Their moments of confrontation were lacking in passionate vigour something that Shaw’s powerful words desired.

Shaw, a strong supporter and campaigner for women’s rights was a playwright sympathetic to the female voice and his portrayal of strong women is obvious and supported beautifully in the performances of Gaye Brown, playing Henrys authoritative mother and Sue Wallace’s depiction of the loyal Mrs Pearce and of course Cush Jumbo’s portrayal of Eliza, who in the conclusive moments of the play remains to have the upper hand over her supposed male superior.

Greg Hersov’s direction is pacy and his understanding of Shaw’s multi-textual script is obvious. Rather than be spoon fed a traditional ‘happy ending’ Shaw allows the audience autonomy with regard to the plays central relationship and Hersov’s subtle direction draws attention to this. Resisting the temptation for playing up the comedy of manners elements Hersov and the well rounded ensemble successfully assimilate the shows obvious comedy with its heavy socio-political themes; entertaining and drawing attention to the comedic tones of the piece where appropriate but ensuring Shaw’s pertinent didactic message is at the forefront, where it rightly takes pride of place.