SALT LAKE CITY — There’s something timeless about My Fair Lady, and seeing it come to life at Hale Centre Theatre feels especially fitting as the show celebrates its 70th anniversary. Lerner & Loewe’s beloved musical, first premiering in 1956, transports audiences not only to 1912 London—where the story is set—but also back to the Golden Age of Broadway. As noted in director Ryan Simmons’s program, this production marks the first time Hale has staged the show since 2013, a version directed by his cousin, the late Chris Clark. Thoughtful nods to that earlier production are woven throughout, adding a layer of legacy to an already rich piece.
At its core, My Fair Lady tells the story of Eliza Doolittle, a Cockney flower girl whose thick accent and rough manners catch the attention of linguistics expert Professor Henry Higgins. Higgins makes a bold wager: if he can transform Eliza into a refined lady—convincing even his mother of her status—he wins the bet. What begins as a study in speech evolves into a deeper exploration of identity, class, and transformation.
I had the chance to see the M/W/F cast, and from the moment Lisa Zimmerman steps on stage as Eliza, she commands attention. Her opening accent is impressively thick—so much so that her eventual transformation into a poised, articulate lady feels all the more astonishing. Her journey is not just vocal but physical; even after donning a stunning gown and hat, she hilariously maintains a stiffness born of determination to “get it right.” Her Ascot scene is a comedic triumph, culminating in the famously abrupt line, “Move your blooming…!”—a perfectly timed reminder that refinement is more than memorized phrases. Vocally, Zimmerman shines, particularly in “I Could Have Danced All Night,” delivering a performance that is both polished and emotionally resonant.
Opposite her, Keith McKay Evans as Professor Higgins is the undeniable standout. His performance is a masterclass in physical acting—every line delivered with full-body commitment, from animated gestures to precise vocal inflection. Even without amplification, his meaning would be crystal clear. He leans into Higgins’ eccentricities, portraying him almost as a gleeful, obsessive scientist consumed by his “experiment.” His comedic timing is impeccable, especially in lines like “The angels will weep for you,” punctuated with delightful flair. While his songs—such as “Why Can’t the English?” and “I’m an Ordinary Man”—are more humorous than vocally showy, Evans’ command of rhythm and language makes them memorable highlights.
A surprising vocal standout comes from John Donovan Wilson as Freddy Eynsford-Hill. Though a smaller role, his rendition of “On the Street Where You Live” is breathtakingly beautiful, making one wonder how such a minor character was gifted one of the show’s most soaring melodies—and even a reprise.
Meanwhile, Daniel Hess as Alfred P. Doolittle brings infectious energy and humor. His numbers, “With a Little Bit of Luck” and “Get Me to the Church on Time,” are pure entertainment, filled with lively choreography and comedic brilliance. His rough-around-the-edges charm, complete with playful broom choreography, makes him a joy to watch.
The supporting cast is equally strong. Mark Pulham offers a warm and steady presence as Colonel Pickering, while Linda Jean Stephenson delivers elegance and wit as Mrs. Higgins. Sara McDonald rounds out the principal cast nicely as Mrs. Pearce.
Musically, under the direction of Alex Marshall, the production is superb. Iconic songs like “The Rain in Spain” land beautifully, and the ensemble’s rich harmonies—especially the men’s four-part sections—are a treat. The choreography by Afton Wilson is equally impressive, with the Act II ballroom sequence standing out as a moment of pure theatrical magic, complete with gracefully “dancing” chandeliers.
Visually, the show is stunning. Joy Zhu’s costumes, particularly in the Ascot scene, are breathtaking—lavish dresses adorned with pearls, jewels, and exquisite hats, evoking the elegance of the original Audrey Hepburn film. Nate Bertone’s set design defies expectations, seamlessly transitioning from Higgins’ study to bustling streets, Ascot races, and a charming garden setting at Mrs. Higgins’ home. Hale’s signature production quality is on full display.
Beyond Eliza’s transformation, the show subtly highlights Higgins’ own journey. Initially dismissive—treating women as little more than flower girls—he is challenged to grow, to see Eliza as an equal. As the musical suggests, “The difference between a lady and a flower girl is not how she behaves, but how she is treated.”
If there’s one minor drawback, it’s that the thick accents—particularly from Eliza early on and Alfred throughout—can occasionally make lines difficult to catch. However, this is a small trade-off for otherwise authentic and committed performances.
In every respect—acting, singing, dancing, design—this is a polished and thoroughly delightful production. Hale Centre Theatre once again proves why it consistently delivers top-tier musical theatre.
MORE INFO: My Fair Lady is currently playing at Hale Centre Theatre’s Young Living Centre Stage (9900 South Monroe Street, Sandy, UT 84070) as part of Hale Centre Theatre’s 2026 season. Lerner and Loewe’s classic musical runs May 18 through July 11, 2026. Performance times vary by date, with many evening performances at 7:30 PM and select Saturday performances listed at 12:30 PM, 4:00 PM, and 7:30 PM. Tickets are $73–$81 for adults and $36–$40 for youth ages 5–17; children under 5 are not permitted. For the most up-to-date schedule, performance details, and official ticketing, visit the Hale Centre Theatre website: www.hct.org
Editor’s Note: Photos will be added when received.