Skip to main content

Bedlam's Pygmalion by George Bernard Shaw

Should we still be producing George Bernard Shaw's Pygmalion in 2018?

Well, if we went by Bedlam's current production at the Sheen Center, nah.

The company, whose Hamlet is actually my favorite production of the play I've seen, typically does interesting, often subversive, work. It may not always be successful but they always seem to have a vision. However, they simply do not make a case for Pygmalion with their straight-forward production.

I'm not going to mince words; Pygmalion is incredibly sexist. Uncomfortably so. It is not subversive in the least. There's no satire. Sure, you can argue it's a product of its time but it can stay in its time. I think it has endured because of the Lerner and Lowe musical version, My Fair Lady. Sure, Shaw is very esteemed (even if he did hate Shakespeare) and his work has endured on its own but I'm not so sure we need to see more productions of Pygmalion. Higgins' misogyny is reprehensible, and as a woman in 2018, it's hard to sit through.

So, as I mentioned in my post about The Winter's Tale, we need a reason to do Pygmalion, or else it feels incredibly inessential. Bedlam's production, performed in the black box space of the Sheen Center, is well-acted all around but it is such a straight-forward that it feels like a college production.

Now, it's unfair to say director Eric Tucker (who also plays Higgins) didn't have a vision. Eliza is played, quite well might I add, by Indian actress Vaishnavi Sharma. This makes this Pygmalion all about the immigrant experience, set in a time and place where colonialism and racism were rampant. Higgins is trying to strip Eliza of her race, her culture. It is inherently wrong. Don't get me wrong, I believe Higgins, especially as portrayed by Higgins, would to this to Eliza. But this device falls away after the opening scenes, and it is not explored deep enough. I suppose to do so, you'd have to completely deconstruct the play. It's a noble attempt to say something but it's not followed through.

Comments

Popular posts from this blog

Fireflies by Donja R. Love at the Atlantic Theater Company

Okay, look, I get it, two-handers are tough. You have two characters with which to tell your story, and you have to somehow tell this story with as little exposition as possible. You have to show, not tell. Are you listening, Donja Love? Love's current play, Fireflies , tells the story of a married African American couple in 1963. He's a preacher, traveling the southern part of the country to speak at the funerals of other African Americans who have died due to racial terrorism. (When the play begins, the church bombing that claimed the lives of four little girls in Birmingham has just occurs.) She's a doting and devoted housewife who goes so far as to write her husband's speeches and sermons for him. But what her husband, Charles, doesn't know is that she secretly smokes, she wants to abort the baby she's carrying, and she writes explicit letters to a woman she's in love with whom she only met once, briefly. Oh, and did I mention she, Olivia, has PTSD a...

I Was Most Alive With You by Craig Lucas at Playwrights Horizons

There's something incredibly exciting (for me) about going to a show at Playwrights Horizons. I don't know what it is--maybe it's because two of my favorite theater-going experiences ever were there, Mr. Burns and The Christians, and every time I enter those doors on 42nd street, I think, "will this be another play just like those great ones?" Sadly, they rarely tend to be these days (although, for all their faults, I enjoyed Mankind and Log Cabin .) And for as ambitious as Craig Lucas' new play,  I Was Most Alive With You is, I can't help but say, "c'mon, Craig, less is more." Lucas sets out to write a play loosely based on the Book of Job, highlighting one man's suffering. This man, Ash, who is Jewish, is a successful TV writer (apparently the writer of the longest-running show of all time? No, he's not Matt Groening) who is a recovering addict and let's not forget, did time for domestic abuse. (His Gentile wife, Pleasant, ...

Yerma by Simon Stone at the Park Avenue Armory

Simon Stone's new adaptation of Lorca's Yerma now playing at the Park Avenue Armory is one of the most interesting productions I've ever seen. Stone, who also directs, has created a unique vision and staging, and gets terrific performances by his cast (especially Billie Piper). Unfortunately his own adaptation lets the production down. Yerma has a simple plot: a woman wants to have a child, and the obsession over conceiving one completely takes over her life and ruins it. The Lorca original makes this a community and social issue; it is the woman's duty to provide her husband with an heir, and if she cannot, she will be ostracized by society. Stone's version has set it in the twenty-first century, a time during which is it not out of the ordinary for women to remain childless. Of course, some stigma still exists around women not becoming mothers (whether by choice or otherwise), no matter how much we tell ourselves that women have the choice to do whatever they wa...