A musical adaptation of George Bernard Shaw’s 1913 play Pygmalion, this is the story of a Covent Garden cockney flower seller, Eliza Doolittle, who aspires to own her own flower shop. Trapped by her class and accent, she seeks speech lessons from Professor Henry Higgins, who boasts that he can take Eliza from the gutter, make her a shop girl, and even pass her off as a lady. But what begins as a wager between Higgins and fellow phonetics specialist Colonel Pickering becomes much more than a tale of Eliza’s transformation. By the end, we are left to decide who truly learns the most.
With a book and lyrics by Alan Jay Lerner and music by Frederick Loewe, My Fair Lady boasts a score filled with classics: “I Could Have Danced All Night,” “Get Me to the Church on Time,” “Wouldn’t It Be Loverly,” “On the Street Where You Live,” “The Rain in Spain,” and “I’ve Grown Accustomed to Her Face.”
This 1956 musical does not lose its relevance and continues to capture audiences with compelling storytelling and showmanship. This production brings West End stars Simbi Akande (Peggy/Maria in Hamilton) as Eliza and Nadim Naaman (The Phantom & Raoul in The Phantom of the Opera) as Henry Higgins, heading up a stellar cast all giving stand-out performances. Jo Servi (Colonel Pickering) provides a brilliant counterbalance to the bombastic Higgins with his compassion and voice of reason.
Mark Moraghan (Alfred P. Doolittle), best known for his TV work in Coronation Street, brings the cobbles of Covent Garden to life with his standout numbers “With a Little Bit of Luck” and “Get Me to the Church on Time.”
Francesca Ellis (Mrs Pearce / Mrs Eynsford-Hill) brings presence and gravitas to both roles, as does Sophie-Louise Dann (Mrs Higgins / Mrs Hopkins) in hers.
The original play is written during the suffrage movement, and the director nods to this throughout. He opens the production with a soundscape of empowering sound bites from women throughout history, gradually rewinding to the era of the play. Pitcher is no stranger to The Mill, having previously directed their productions of Gypsy, High Society, and Guys & Dolls. Here he gives us more than another version of the musical; he highlights that this story is not just about change or appearance. “To unlearn what the world we are born into teaches us about who we can and cannot be takes courage,” he states. “Whether that means breaking through barriers to a fuller emotional life or fighting for agency and stepping into the light to be counted.” This approach clearly shapes how Eliza, her father, and Professor Higgins evolve by the end. Pitcher not only directs but also choreographs (with Co-Choreographer Alex Christian), creating numbers full of energy that earn enthusiastic praise from the audience.
With a cast of fourteen and four musicians, the show feels like a West End extravaganza captured within the intimacy of this 218-seat theatre. Natalie Titchener’s costume designs work beautifully; she chooses not to replicate Cecil Beaton’s iconic black-and-white race-scene costumes, instead putting her own stamp on the show to great effect.
Nick Tudor’s musical direction enriches the production; the music feels like a full orchestra rather than a four-piece band. Strong arrangements by Charlie Ingles, excellent harmonies from the ensemble, and superb vocals from the leads elevate the score even further. The addition of on-stage musicians playing violin, banjo, and accordion adds charm and texture.
The ensemble are magnificent not only as actors, dancers, singers, and musicians, but also as the driving force behind seamless scene changes. They transport us effortlessly between locations without the abrupt pauses that often accompany transitions. This is made possible by Diego Pitach’s clever and impactful set design. Despite the limitations of a space where set pieces cannot be flown and where no front or mid-stage curtain exists, the scenery morphs fluidly through movable pieces and cast coordination. The creative team also includes Sound Designer Chris Whybrow, Lighting Designer Jamie Platt, and Assistant Director Matthew Jeans.
The Mill at Sonning offers more than a show — it offers a complete theatre experience. Set in an idyllic beamed flour mill in a picturesque village, the venue provides a warm welcome from the moment you arrive. Each performance includes a pre-show meal, both for evenings and matinees, with a two-course menu that currently includes festive options. This allows them to offer a night out with dinner for less than many mid-range West End ticket prices.
The audience leave buzzing, full of praise for the acting, choreography, and singing. This is a show you are guaranteed to remember — one that sends you out of the theatre humming, and in some cases singing.
The show runs until January 17th, 2026.
Review: Claire Hogan Photo: Pamela Raith