Loreto Convent''s Fair Lady

Shriniwas Joshi

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I WAS invited to Loreto Convent School to the play, “My Fair Lady”, by Alan Jay Lerner based on ‘Pygmalion’ by George Bernard Shaw. I have been to this school several times and have enjoyed the plays.

Loreto Convent has tradition of dramatics and music. When Loreto Convent was founded here in 1895, it was affiliated to Trinity College, London, and students of this school were carefully prepared for the music examination. Regarding dramatics, I quote Shailja Chandra, who retired as the Chief Secretary of Delhi and was student of Loreto Convent in the 50s. It was Mother Bernadine who had taught me to project my voice and keep my eyes on the last row in the audience, whilst on the stage.

Under her tutelage, I mastered the skills of acting and elocution - ‘Never raise your arms in useless gestures; unless you raise them well above your waist they are pointless.’ She forced me to open my mouth wide so that four fingers in a row could stand inside and the sound of the vowel ‘aaah’ could be heard at the end of the hall.

She listened again to the sound of the ‘t’ and the ‘d’ at the end of every word I spoke, something that set apart good diction from bad.” These tips are really useful for all students. Sister Stephanie, Principal, informed me that Mother Bernadine died this year at the age of 93. May God bless her soul!

In one of the theatres, it is written outside, “We theatre artisans have piled high the faggots; but you, the spectator, must supply the torch.” And I credit the appreciative and knowledgeable audience on the day for supplying the right torch.

I am not judging the play with the same measuring rod with which I judge the plays done by other clubs. The gauge stands tilted in favour of students. The story of the play revolves around the enigmatic relationship between Henry Higgins and Eliza Doolittle. They begin as tutor/pupil, their roles progress to master/chattel, employer/servant, to lovers and ultimately husband/wife. Director of the play Sarla Kant was successful in making the duo express the shadings of this relationship. Rishika Sharma as Eliza was absolutely captivating and her gradual transformation from a squashed cabbage-leaf to pretty flower was visible to every discerning eye. She leaves her cockney accent to slip into the perfect elocution style of the high society. Henry Higgins has not been shown here as misogynist because the scene where he plucks petals of rose one by one saying ‘she loves me’ unfolds Higgins as one who feels the pull of Eliza and has soft corners too.

At best, he is a misanthrope who distrusts everybody and loves himself only as churlish phonetician. Shreya Patial, in a difficult role, attempted to fit herself in that mould and delivered what she could. I would also speak of two more actors in the play; Simran Gohan, who played Colonel Pickering, has stage personality and the grace of English language poured from her lips while Suhana Thakur as mother of Higgins was impressive and her body language clicked despite a small role.

I liked that scene the best where Alfred Doolittle dances with his two friends and sings: “I’m gettin’ married in the morning/ But get me to the church in time.” It was perfect blocking and the dance was done in gay abandon. The song “Que Sera Sera” sung by Eliza and her friend is not there in the original script but was lifted from Alfred Hitchcock’s “The Man who knew too much” and added here. I liked this nostalgic addition as it took me to my prime.

I would, however, not be an apt reviewer if I do not point out two shortcomings - one, use of movies was hindering the play; a drama should stand on its own legs and two, the make-up of men characters with false beard and moustache was disturbing. Yet another plus point was the grandeur of the sets on the stage (See photo). To wit, it was a lovable evening with the young ones.