The Mill at Sonning’s production of My Fair Lady felt like a step into the past. The theatre sits in an old mill overlooking a serene waterway, and the meal served before the musical was homemade and comforting. Finishing my crumble and custard, I was in the perfect nostalgic mood to watch a Golden Age classic such as My Fair Lady.
Slight spoilers for a nearly seventy-year-old play: My Fair Lady follows Cockney flower girl Eliza Doolittle, who is transformed into a respectable high-class lady by phonetician Henry Higgins. He undertakes this for a bet, only to realise he has developed feelings for Eliza after she leaves him. The play ends ambiguously, uncertain where their relationship will go.
Simbi Akande brought remarkable focus to Eliza’s plight. In the first act, she leaned slightly too far into Cockney caricature during Eliza’s pre-transformation scenes. I would have appreciated more glimpses of the real Eliza beneath the rough exterior to foreshadow the second act. However, in the latter half of the show Akande’s performance blossomed. As Eliza, lost and struggling to regain control of her life, Akande embodied her internal turmoil beautifully. Her quiet moments of observation during “You Did It” were exquisitely heartbreaking.
My Fair Lady uses speech and mannerisms to interrogate class divides, and Akande’s journey in the second half formed a thoughtful exploration of the psychological shift Eliza undergoes. She carried the audience with her into the murky waters Eliza treads, unsure of what she has become. Her vocals were magnificent throughout: crisp, controlled, and unwavering.
Nadim Naaman took on the challenging role of Henry Higgins. Viewed through a modern lens, Higgins is a problematic conundrum — classist, sexist, and carrying many other traits today’s world would reject. Naaman’s performance wisely did not soften these flaws. Yet I found myself wanting greater commitment from him in the heightened emotional moments near the end. His command of Higgins’ rage was strong, but once Higgins realises his feelings for Eliza, Naaman seemed to lose the character’s drive. I would have liked to see deeper exploration of Higgins’ internal crisis; at times he felt more like a forlorn puppy than a man whose worldview is being dismantled by love.
The music was clear and well balanced, making all lyrics easy to follow. Three ensemble members — James William-Pattinson, Conor McFarlane, and Emma Fraser — contributed to the orchestration on stage, playing banjo, violin, and accordion. Their diegetic presence as street musicians, tavern players, and ballroom soloists added charm to the production’s world. However, when they were incorporated into the larger dance numbers, their musicianship was somewhat lost beneath the amplified orchestra. The choreography didn’t always support them, and they occasionally appeared to be keeping up rather than fully integrated.
Two ensemble members deserve particular praise: Christopher Parkinson and Imogen Bailey. Joseph Pitcher and Alex Christian’s choreography was joyful and charismatic, and Parkinson and Bailey consistently radiated that joy, sparking smiles whenever they were on stage. Musicals rely on their ensemble to build a convincing world, and numbers such as “A Little Bit of Luck”, “Ascot Gavotte”, and “Get Me to the Church on Time” demonstrated this cast’s ability to transport the audience through dance and vocal energy.
Costumes by Natalie Titchener were another highlight. Class divisions were clearly delineated through her designs. Eliza’s transformation from Cockney flower girl to glittering high-society ingénue was striking. Her torn coat, frayed hair, and grimy make-up at the beginning contrasted sharply with the diamond-adorned gown that closes the first act. The ensemble’s costumes moved fluidly between impoverished streetwear and posh upper-class attire, maintaining a beautifully coherent visual world.
Overall, The Mill’s My Fair Lady succeeds in bringing sincere complexity to Eliza Doolittle’s story. I occasionally longed for more emotional depth from parts of the supporting cast, but the production is lively, effervescent, and full of charm. Enjoy a cosy dinner before seeing this lovely musical — it’s one of life’s simple pleasures.
Musical Comedy
Book by Alan Jay Lerner
Music By Frederick Loewe
Director – Joseph Pitcher
Cast Includes – Simbi Akande, Nadim Naaman, Mark Moraghan, Alfie Blackwell,
Running Time 2h 50m with 20m interval
Until 17 January 2026
Photo Credit – Pamela Raith