The Mill at Sonning has built a reputation for delivering West End calibre productions in an intimate setting, and its latest offering, My Fair Lady, is no exception. Directed by Joseph Pitcher, whose award-winning production of Gypsy in 2023 set a high bar, this revival of the Lerner and Loewe classic is nothing short of spectacular.
First staged in 1956, My Fair Lady remains one of musical theatre’s most beloved works, with a score that includes gems such as Wouldn’t It Be Loverly?, On The Street Where You Live and I Could Have Danced All Night. The story follows Eliza Doolittle, a Cockney flower seller whose life is transformed when phonetics professor Henry Higgins wagers he can pass her off as a duchess. It is a tale of class, identity and transformation, and in this production, every beat of the narrative feels fresh and vibrant.
Diego Pitarch’s stunning set seamlessly transports us from Covent Garden to Wimpole Street, Ascot and the Embassy Ball, and makes it clear that this is a show of remarkable ambition. The relatively small stage is used to dazzling effect, particularly in big ensemble numbers like Get Me to the Church on Time, which bursts with energy and colour. Natalie Titchener’s costumes are equally impressive, evoking Edwardian elegance with authenticity and flair.
The cast is exceptional. Nadim Naaman is the perfect Henry Higgins, bringing charm and complexity to a role that can so easily tip into arrogance. His Higgins feels less like a caricature of privilege and more like a man wrestling with his own limitations, which adds depth to the familiar story. Opposite him, Simbi Akande shines as Eliza Doolittle, her transformation in Act Two both believable and deeply moving. Akande avoids the trap of making Eliza a passive creation of Higgins’ ambition; instead, she asserts her agency, particularly in the second act, which gives the production a refreshing modern resonance. Her rendition of I Could Have Danced All Night is a highlight, filled with joy and vulnerability.
Alfie Blackwell makes Freddy Eynsford-Hill utterly irresistible, his soaring vocals in On The Street Where You Live earning audible sighs of appreciation from the audience. Meanwhile, Mark Moraghan delivers a wonderfully comic Alfred P. Doolittle, ensuring that Get Me to the Church on Time is a showstopper.
The sound design by Chris Whybrow deserves special mention, particularly in the Ascot scene, where it plays a crucial role in creating atmosphere and tension. Under the musical supervision of Charlie Ingles, the score feels alive, with Nick Tudor’s orchestra bringing out every nuance of Loewe’s glorious melodies.
Pitcher’s direction ensures the piece never drags, even in dialogue-heavy scenes, and the humour lands without undercutting the emotional stakes. This is, without doubt, The Mill at Sonning’s finest Christmas show yet. It is beautifully staged, impeccably performed and brimming with heart.
Listings and ticket information can be found here.
