Pygmalion

George Bernard Shaw

Performed at Coulsdon Youth and Social Centre

Two performances from April 30 – May 2, 1970 📅

About the Production

George Bernard Shaw’s play Pygmalion is a satire of early 20th century British society. First staged in 1913, the play is an adaptation of the ancient Greek myth of Pygmalion and Galatea. Shaw refreshes the tale, using wit and humour to poke fun at the British class system. At its core, the story centres on Eliza Doolittle, a poor flower girl, and her transformation into a refined lady. The characters are complex, showcasing Shaw’s brilliant dialogue and keen social observations.

The plot unfolds when Professor Henry Higgins, a confident phonetics expert, makes a bet with Colonel Pickering. He wagers that he can train Eliza to speak like a duchess in six months. The transformation process begins with Higgins refining her speech and teaching her manners, aiming to showcase her at a high society event. At first, Eliza struggles, but she possesses an unexpected resilience. As her language skills improve, she surprises everyone with her newfound confidence. However, Higgins, in his scientific enthusiasm, fails to regard Eliza as a human being, his condescending attitude starkly contrasting with Eliza’s evolving self-worth. The audience watches as she breaks free from Higgins’ oppressive treatment, navigating her identity in society. This leads to comedic moments, often underscored by witty banter between the characters, including the lovable Alfred Doolittle, who frequently adds humour with his flawed wisdom.

Finally, Eliza expresses her anger and hurt to Higgins, asserting that her worth is not dictated by how he treats her or by her accent. No longer a mere experiment, she’s a strong, independent woman. Eliza rejects Higgins’ objectification and chooses to forge her own path, opting for a life with Freddy Eynsford-Hill instead of returning to Higgins’ bleak existence. Higgins is left bewildered by her departure, signifying his unexpected emotional attachment despite his prior indifference.

Given the experimental nature of much of the following decade, this opening gambit from Theatre Workshop – Coulsdon was a strangely conservative choice, possibly owing more to its predecessor, CYTO (Croydon Youth Theatre Organisation) than the aims and ambitions of the new group. We have only the review in The Croydon Advertiser to guide us here though, no programme or other records, and thankfully it namechecks a fair few participants. However, a number of the names involved in this initial foray are never to be seen acting with the group again.

Note that the name of the group is ‘Theatre Workshop – Coulsdon’, with a dash. Clearly there’s an aspirational thought toward somehow mimicking the success of Joan Littlewood’s Theatre Workshop, which showed ambition.

The Cast

Marilyn Wilson-Brown Eliza Doolittle

Mark Poncia Professor Henry Higgins

Alan Clarke Col. Pickering

Terry Brant Alfred Doolittle, Eliza's father

Jane Briggs Mrs Higgins, Henry's mother

Pamina Wild Mrs Eynsford-Hill

Rosemary Quin Clara Eynsford-Hill

June Marsom Mrs Pearce, Higgins' Housekeeper

Behind the Scenes

Alan Tyerman Director

The Reviews

Fruitful Move

Judging by last week’s performance of “Pygmalion,” Theatre Workshop’s detachment from CYTO was a move in the right direction. It was difficult to believe that this was the same company who put on that dreary pantomime in January.

A great deal of hard work had obviously gone into this presentation of Shaw’s famous drama. Alan Tyerman’s lively production at Coulsdon Youth and Social Centre sped along, never allowing the players to become bogged down with Shaw’s weightier dialogue. Good use was made of the large stage, and the majority of moves seemed motivated by some thought.

Marilyn Wilson-Brown gave a discerning interpretation of the flower girl’s inner conflict. Effective in her early cockney scenes, she really blossomed in the final act, showing the tragedy of a girl caught between social classes. As Mr Doolittle, her father, Terry Brant tried too hard to be funny, rather than playing the character sincerely and letting the hilarious lines and situation do the rest. The torn piece of hat which hung in front of his eyes all through the first scene was totally unrealistic and out of character, and only detracted from the humour of the dialogue. Mark Poncia, a promising young actor, turned in a polished performance as the arrogant Higgins. he has that ease of manner and delivery which make his appearances on stage very easy to watch. As the sympathetic Mrs Higgins, Jane Briggs was efficient as usual, and captured the feeling of weight and age more successfully than anyone. Two enjoyable performances came from Pamina Wild and Rosemary Quin as the ridiculous socialites Mrs Eynsford-Hill and her daughter. They were both extremely amusing but always utterly believable. Good sound work also came from Jane Marsom in the unrewarding part of Higgins’ down-to-earth housekeeper.

Alan Clarke should have realised that it was quite impossible for him to be convincing, even for a second as Col Pickering (Retired – Indian Army), while retaining his shoulder length locks. I fully appreciate the agony involved in cutting off a year’s growth, but even some attempt to brush his hair into a 1904 style would have helped. This lapse was regrettable as I suspect that underneath the shagginess he was giving a sensitive performance in a difficult role.

Sets, costumes and lighting were all satisfactory – as was the very efficient but rather overworked prompter.

GJ for the Croydon Advertiser May 8, 1970