George Bernard Shaw’s classic play about accent, class and morality gets a reshaping in Richard Jones’ new production at The Old Vic.

It’s a joy the see the Old Vic returning to the classic British drama it does so well. Jones’ new production of the play takes both Shaw’s original play text and screenplay, amalgamating them into this new version. Whether Shaw himself would be happy with it is another matter.

Firstly, huge praise has to be heaped upon both Bertie Carvel and Patsy Ferran who play Henry Higgins and Eliza Doolittle respectively. Carvel is again transformational (and unrecognisable from his previous stint at The Old Vic playing Donald Trump in The 47th back in May 2022). His mannerisms, eccentricity and attention to detail are a masterclass in performing; painting Higgins as an obsessive, socially unaware intellect who at times whisks us away with his subject enthusiasm. The amount of energy within his performance is spellbinding and how he goes on to do the exact same again in the evening (this reviewer caught a matinee) astounds me.

Ferran brings a believability and humanity to Eliza which can easily be lost in the early scenes of the play by a less accomplished performer. Her comportment gradually changing by degree from the Covent Garden flower seller to a perfectly sculpted lady able to pass off in high-society. The pain of Eliza’s coming to terms with her social liminal state is palpable from Ferran towards the shows climax.

Add to this the fantastic vocal work of John Marquez as Alfred Doolittle, and a loveable Michael Gould as Colonel Pickering the cast is a genuine joy to watch. The Dialect and Voice work of William Conacher and Charlie Hughes-D’Aeth shine throughout.

The Production is somewhat sparse and at point feels almost avant-garde with frenetic movement contrasted with oblique stillness paired with the slightly surreal 1930’s set has the ability to knock us off-guard as an audience. Richard Jones’ direction is generally fascinating with the exceptions of a baffling lady in a red dress and a staccato scene at the Ambassador’s party.

The choice to alter the ending feels very similar to the recent production of My Fair Lady at the Coliseum last summer. Part of the wonder of the original is the almost mythical open ending of Shaw’s work and there feels like there’s been a trend in recent years to neatly sum up things to address questions and, possibly, politics of today. This feels not only unnecessary (thanks to some fantastic direction and an engrossing performance from Sylvestra Le Touzel as Mrs Higgins) but also an amendment that I cannot see Shaw himself approving of.

This frenetic production is a fantastic telling of the classic play whose cast really shine.

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