By AJ Jaffari

What if Eliza Doolittle didn’t settle for just being “a lady”? That’s the quietly radical undercurrent running through My Fair Lady, the classic Lerner and Loewe musical about transformation, class, and the cost of self-reinvention. Based on George Bernard Shaw’s Pygmalion, the show follows Eliza, a scrappy Cockney flower seller, as she’s swept into the linguistic experiment of Professor Henry Higgins, who wagers he can pass her off as royalty with enough phonetic training. But this isn’t just a story of polished vowels and high society—it’s a tug-of-war between agency and assimilation.

SF Playhouse’s new production brings fresh relevance and charm to this golden-age gem. Directed with warmth and wit, it leans into the tension between tradition and autonomy, allowing Eliza’s journey to feel both timeless and timely. The lush score—featuring beloved numbers like “I Could Have Danced All Night” and “Wouldn’t It Be Loverly?”—shines in an intimate staging that foregrounds emotional nuance over spectacle.

What truly elevates this revival is its Eliza played by Jillian Smith: complex, grounded, and resolutely modern. Rather than being shaped by Higgins, she shapes herself—and it’s that evolution, not the accent, that steals the spotlight. Whether you’re a musical theater purist or a first-time visitor to 27A Wimpole Street, this My Fair Lady makes a compelling case that the most powerful transformation is the one you choose for yourself.

This cast shines with standouts across the board. Adam Magill (Henry Higgins) delivers a performance so steeped in sternness it circles back to charm. His sharp comedic timing brings a fresh, unexpected humor to the famously prickly professor—something I hadn’t seen in previous renditions. Another highlight is Brady Morales-Woolery as Colonel Pickering, who balances tradition with a subtle modern flair, giving the character a hilarious new dimension. I happened to attend on a swing/understudy night, but honestly, I wouldn’t have known if I hadn’t been told—the ensemble was seamless. A round of applause to all: Seth Hanson (Harry) and Brieanne Alisa Martin (Mrs. Higgins) brought presence and polish, while ensemble members Annie Dick, Andrio Jordan Fong, Emily Kessel, Matthew Letton, and Leslie Waggoner brought vibrant energy to every scene. Each actor excelled in acting, singing, and dancing. And a special shoutout to Nicholas Tabora (Freddy), whose swoon-worthy vocals on “On the Street Where You Live” stole the show. It was a treat to see Tabora in a featured role. Stellar cast all around!

When it comes to production, I have to start by saying: this is the most impressively designed set I’ve ever seen at SF Playhouse. Scenic designer Nina Ball has created a massive, dynamic world on the theater’s revolving stage. One side evokes a bustling English streetscape, while the other transforms into Henry Higgins’ mansion—complete with multiple levels, cozy nooks, and hidden crannies. A clever perpendicular extension even accommodates the facade of Higgins’ front door. I highly recommend keeping an eye on the transitions—watching this intricate set rotate and reconfigure is a show in itself.

The musicians, led by the always-excellent Dave Dobrusky, do a stellar job bringing Lerner and Loewe’s beloved score to life with elegance and polish. And choreographer Nicole Helfer deserves a round of applause for crafting movement that feels classic, graceful, and genuinely fun—a perfect match for this golden-age gem. This is a production not to be missed, especially if you’re a devoted musical theater fan with a soft spot for a sweeping, timeless score.

My Fair Lady runs through September 13 and tickets are available here.