Pygmalion. The Caxton Theatre, Grimsby 15 July 2025.

Pygmalion, George Bernard Shaw's witty and insightful comedy, is brought to life with remarkable finesse in this production at Grimsby’s Caxton Theatre.

A familiar story, trading on the fact that it is “My Fair Lady without the songs”, Pygmalion skewers the rigid British class system. Professor Henry Higgins believes he can transform Eliza Doolittle—a Cockney flower girl—into a "duchess" by teaching her how to speak proper English. But Shaw’s deeper message is that language and manners are arbitrary gatekeepers of power. He’s questioning whether identity is inherent or socially constructed. Eliza’s transformation is both liberating and alienating, forcing the audience to ask: who truly benefits from "refinement"?

Unlike the film My Fair Lady, which romanticizes the Higgins–Eliza relationship, Shaw explicitly opposed them becoming a couple. In fact, he wrote a sequel in prose where Eliza marries Freddy, not Higgins. Shaw believed that Eliza’s independence and dignity mattered more than satisfying a romantic fantasy. He viewed Higgins as an emotionally stunted man who wasn’t capable of a real partnership. The play's ambiguous ending was meant to provoke—not comfort—its audience.

The title comes from the Greek myth of Pygmalion, a sculptor who falls in love with a statue he creates. Shaw riffs on this by making Higgins the “sculptor” who tries to shape Eliza. But unlike the myth, Eliza refuses to remain an object of male creation. She gains agency, pushes back, and chooses her own path. Shaw uses the myth not to celebrate transformation at the hands of a man, but to highlight the tension between power, control, and selfhood.

Under the capable direction of Michael Mayne, the pacing of the play is spot on, allowing for the humour, wit, and underlying social commentary to shine through without ever feeling rushed. The set is wonderfully imagined and flexible, and features a gorgeous painting of the view from the bank of the Thames. The dynamic between Eliza and Higgins is built gradually, with each confrontation and breakthrough feeling earned. The director skilfully balances the comedy with the more serious themes of class, identity, and personal transformation, ensuring that the emotional arcs of the characters are always in focus.

The cast delivers a performance brimming with energy, intelligence, and charm, making this adaptation a thoroughly enjoyable experience for the audience. Eliza, the flower girl with a strong Cockney accent and rough-around-the-edges demeanour, is the heart and soul of Shaw's narrative, and Louise Blakey inhabits the role beautifully. From the early moments of brashness and naivety to her sophisticated metamorphosis, Blakey brings Eliza's journey to life with nuance and vulnerability. The transition between her Cockney roots and newly acquired upper-class persona is handled with both humour and pathos, making Eliza's journey all the more believable and moving.

David Wrightam portrays the self-assured and often exasperating phonetics professor with great skill, honed over many years’ familiarity with the role, having played the character in eight productions of either Pygmalion or My Fair Lady. Wrightam delivers Shaw’s razor-sharp dialogue with confidence and precision. The character's intellectual arrogance and lack of sensitivity towards Eliza’s humanity are portrayed with subtlety, and Wrightam masterfully conveys the transformation of Higgins from a man obsessed with his own abilities to someone who begins to care deeply for his pupil, even if he doesn't fully admit it. The complex dynamics between Higgins and Eliza are brought out superbly.

The contrast to Higgins, Colonel Pickering is the kind, more empathetic friend and colleague who believes in Eliza’s potential. Bruce Forster captures Pickering’s warmth and respect for Eliza, offering a much-needed balance to Higgins’ cold pragmatism. The chemistry between Forster and Wrightam (Higgins) creates a delightful camaraderie that feels both natural and endearing.

Henry’s sharp-witted mother, Mrs. Higgins, is performed with a delightful mix of authority and restraint by Susan Wheatley-Solley. The character’s bemusement at the chaos surrounding her son’s experiment adds a layer of sophistication to the production, and her scenes provide welcome moments of levity and perspective.

As Eliza’s lovable but morally dubious father, Alfred Doolittle provides the perfect comic relief, without ever losing sight of his role in the play’s deeper themes of social mobility and class. Carl Wingate captures Doolittle's roguish charm and complete disregard for societal norms. His scenes, particularly those involving his "unexpected" inheritance, should really raise a smile.

Freddy, the lovestruck young man who falls for Eliza, is convincingly portrayed by James Lusty, who brings a touch of sweetness and humour to the role. Though his character is often seen as a bit of a fool, Lusty infuses Freddy with enough sincerity and charm to make his devotion to Eliza both endearing and believable.

As Mrs Pearce, Henry's housekeeper, Jo Cox excels in a memorable performance that really shone replete with a convincing Scottish accent that was no doubt of immense interest to Higgins at one time. Once again her timing is superb and her delivery magnificent.

Lucy Tooze as Freddy's mother and Lucy Ann Jessop as Clare, Freddy's sister also succeed in bringing wonderful characterisation to smaller roles.

Supporting characters such as the servants, bystanders, and society members are also executed well, with each adding richness to the world of the play.

This production of Pygmalion proves that a well-loved classic can still have the power to captivate and entertain. With an outstanding performance by Louise Blakey as Eliza and an equally strong portrayal of Higgins by David Wrightam, the entire ensemble contribute to a memorably delightful evening.

The witty dialogue, sharp social critique, and compelling character arcs are all executed with care, making this a truly enjoyable and thought-provoking production. Bravo to the entire cast and crew for bringing Shaw’s timeless play to life with such vigour and heart. The show runs from Saturday 19 July until Saturday 26 July at 7:30pm at the Caxton Theatre and tickets are available.

Andy Evans 15 July 2025.

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