Nothing appeals to our human sense of self-involvement quite like an adaptation that plunges a classic tale into a modern scenario. Edinburgh University Theatre Company’s recent staging of George Bernard Shaw’s Pygmalion takes relatable reinvention one step further; situating Eliza Doolittle’s transformation from an impoverished flower girl to a refined lady in the context of our very own university. Tackling the play’s enduring themes of classism with sensitivity in such a setting is undoubtedly ambitious, yet the production succeeds as a piece of generally self-aware satire, brought to life by a vibrant and engaging cast.
Though the script felt unsure of itself in places, caught in an awkward limbo between full modernisation and lingering Victorian elements (with shillings mentioned moments before Eliza is referred to as a “povvo”), the overall tone remained light-hearted and humorous, never claiming to take itself too seriously. The performance played to the charm of low-budget student theatre; scene transitions, while a little stilted, were cleverly woven into the body of the performance, with stage hands cueing blackouts by miming the pull of a light cord to signify the beginning and ends of scenes.
The driving force of the play was undoubtedly the actors. Connie Bailie played a spirited and compelling Eliza, with an impressive ability to switch between accents seamlessly as the story required. The likes of George Laing, Lisa Gillham, and Aislinn McSharry also gave standout performances, notable for their energetic delivery and comedic timing, without which such a wordy play could have easily lost momentum.
Overall, an intriguing concept reasonably well-executed; amid a constant stream of heavy and serious theatre, this cheerful production provided a refreshing change of pace.
Image by Emma Le Breton provided via EUTC Press Release