Review: Pygmalion (Bailey Theatre Company)

By Emily Hatwell

Watching the opening night of the Bailey Theatre Company’s (BTC) Pygmalion, it would be difficult to guess that the majority of the cast and crew were first years. A slick production from start to finish, I was profoundly taken in by the delivery of Shaw’s witty script. Some may expect that without the songs associated with Pygmalion’s better-known adaptation, My Fair Lady, the production may lack the energy necessary to carry the audience’s attention, but this could not be further from the truth.

Pygmalion tells the story of Cockney flower girl Eliza Doolittle, who, upon meeting the autocratic and arrogant Professor Higgins, wishes to have voice lessons so that she can secure a more prestigious position as a girl in a flower shop. Higgins and his associate Colonel Pickering place a bet: could Eliza be perceived as a member of the aristocracy? Various trials ensue with the sharp satire well-associated with Shaw’s work, all with an underlying criticism of British class perceptions. The key takeaway is summed up by Eliza towards the end: a lady is not identified by how she talks but by how she is treated.

[Mingay’s] performance was expressive, capturing both the comedic elements of Eliza’s character and her emotional journey to realising her own worth

However, a good script is nothing without good actors, and BTC proved themselves well worthy of Shaw’s timeless script. Boo Mingay and Ollie Painter led as Eliza and Professor Higgins respectively. Mingay effortlessly progressed from Cockney to RP without ever straying into Dick van Dyke territory. Her performance was expressive, capturing both the comedic elements of Eliza’s character and her emotional journey to realising her own worth. Painter had a charming, frenetic energy, delivering his lines rapidly with perfect diction and moving restlessly around the stage. This all helped contribute to making the audience (if not like Higgins) understand the Professor’s mind. The pair had an electric chemistry that rooted the audience with high emotions in the second half.

In the wider cast, Henry Smith did an excellent turn as Alfred Doolittle, Eliza’s rather morally corrupt father, providing both levity and continuing the satirical nature of the whole charade. He avoided the Dick van Dyke Cockney trap with skill. Colonel Pickering provided a great foil to Higgins, and George Smith in the role did a substantial amount to make one of the less interesting characters of the play a suitable straight man to balance the comedic presences of the leads. Jessica Cloake’s rendition of Mrs Higgins, the rather worn mother of Professor Higgins, provided insight into Higgins’ character, as she seems to be the only one whose words get to the incorrigible Professor. With cast members all being a similar age, it can be difficult to believe that one actor is older than another, but Cloake carried herself so that there were no doubts about who was in control. Overall, the entire cast delivered exactly what their characters needed to, with several actors doubling up on roles with great skill and panache.

Like any excellent production, Pygmalion had a phenomenal production crew. All the aspects that make theatre such a uniquely wonderful experience were there, and Jessica O’Toole’s pared-back direction allowed the script and story to shine without being marred by complex technical aspects. The tech crew carried out transitions smoothly, allowing scenes to flow naturally. Costumes (an often difficult and disregarded aspect of theatre) established characters’ class and the period. Even just seeing the differences in dress between Colonel Pickering and Professor Higgins, the audience effectively saw the characters’ different attitudes to life without the actors uttering a line. It was evident from the overall performance that Amelia Habershon (Producer) and Zac Jackson (Production Manager) were able to run a tight ship, allowing the production’s creativity to shine, undoubtedly assisted by an equally efficient team.

The piano and strings fed fuel to an already fantastic production

One particular aspect I would like to highlight is the music. While Pygmalion is not a musical, the score (impressively written largely by Jed Godfrey) was performed live and was a welcome addition. The piano and strings fed fuel to an already fantastic production. As a result, Jed Godfrey and Jackie Gui, as Musical Directors, along with the whole team of musicians, deserve special recognition.

BTC’s Pygmalion truly represented what is best in student theatre. There was boundless energy and enthusiasm, which was matched by technical skill and depth, leading to a well-rounded and endlessly enjoyable performance.

Bailey Theatre Company’s Pygmalion was in performance at Leech Hall, St John’s College, 28 – 30 November 2025.

Image Credit: Bailey Theatre Company