Some shows come and go, but My Fair Lady is the kind of musical that never really leaves you. It’s a story about identity, class, and human connection—things we’re still debating today. This latest production, currently touring South Africa, brings the beloved musical to life once again. Overall, this production of My Fair Lady South Africa 2024/2025 is a must-see for fans of classic musicals. I grew up watching the film, I saw the 2006 production at the State Theatre with my family, and I still revisit the film soundtrack often. Naturally, when Showtime Management, Cape Town Opera, and Pieter Toerien announced a new South African production for 2024/2025, I knew I had to see it.
I wasn’t the only one excited—tickets sold fast, and most performances were completely booked out. And after experiencing the show for myself, I can confidently say: it deserved that hype.
My Fair Lady South Africa 2024/2025 – A Visually Stunning and Well-Paced Production
From the moment the overture played, the production felt lavish and grand, proving that South African theatre is still capable of delivering world-class experiences. The sets were beautifully designed, with seamless transitions that made the world feel alive. The costumes were detailed and elegant, though a friend pointed out some historical inconsistencies. Personally, I didn’t mind—the slight anachronisms didn’t distract from the overall atmosphere, and let’s be honest, most audiences wouldn’t have noticed.
The music, as always, was a highlight. The score is timeless, and hearing it performed live is something special. But here’s where I had a small gripe—the orchestra felt too small. It was obvious that much of the instrumentation was being filled in digitally. And while it didn’t take away from the experience for most, I couldn’t help but miss the depth of a full live orchestra.
A Brilliant Lead, Strong Supporting Cast, and One Casting Miss
Brittany Smith as Eliza Doolittle – A Star Turn
If you’re going to do My Fair Lady, you have to get Eliza right. And Brittany Smith? She absolutely delivered. From her cockney accent to her refined transformation, she made the role her own. Her performance was layered, her vocals were flawless, and she made the audience fall in love with Eliza.
Mark Richardson as Alfred Doolittle – A Scene-Stealer
Mark Richardson as Eliza’s rough-around-the-edges father was hilarious. He played the role with energy and charm, and it was clear he’s a seasoned performer who knows how to work a stage. His comedic timing was impeccable, and his chemistry with the rest of the cast made his scenes some of the most enjoyable in the show.
Craig Urbani as Henry Higgins – Fine, But Predictable
Craig Urbani is a solid performer. He was technically proficient as Higgins—his delivery was sharp, and he hit all the right beats. But here’s my issue: he’s in everything. From The Sound of Music to Rocky Horror to Chicago, he’s been cast in almost every major musical in the past few years. While there’s nothing wrong with that, I do think South African theatre could benefit from casting fresh faces in lead roles rather than rotating the same names.
Sandi Dlangalala as Freddy Eynsford-Hill – A Casting Misstep
Here’s where the production faltered. Freddy is supposed to be an idealised, almost fairytale-like suitor—tall, charming, and confident. The kind of man Eliza should want on paper. But in this production, Freddy felt flat and timid. His presence lacked the charisma and authority needed to contrast Higgins, and vocally, he didn’t bring the power the role demands.
To be fair, some of this may have been influenced by the direction rather than solely a casting issue. However, the end result was that Freddy, a character meant to be a pivotal part of Eliza’s journey, didn’t leave the lasting impact he should have.
More Representation, Young Talent, and Industry Realities
One thing that stood out when flipping through the programme was how much the cast has evolved since the 2006 production. There’s more diversity and representation, which is fantastic to see. Theatre should reflect the society it’s performed in, and this production felt like a step forward in that regard.
It was also great to spot rising talent in the ensemble, like Tjaart Van Der Walt and Dylan Janse Van Rensburg—whom I’ve seen in recent productions of Spring Awakening and The Sound of Music. Seeing young actors growing in their careers is always a highlight.
Theatre Needs Support—Now More Than Ever
While this production was a hit, it’s hard to ignore the challenges the theatre industry is facing in South Africa. The lack of a full live orchestra is just one symptom of a bigger issue.
- Government support for the arts is at an all-time low. The National Arts Council’s latest report showed that many funding applications were declined due to financial constraints (nac.org.za).
- Corporate sponsorships are dwindling. My Fair Lady has seen strong sponsorship support in the past, with Absa backing the 2006 production, but in recent years, private-sector investment in theatre has noticeably declined.
- The industry is still recovering from COVID-19. Despite efforts like the Mzansi Golden Economy programme, theatre productions continue to face financial strain (treasury.gov.za).
If we want productions to continue at this level, we need to show up, buy tickets, and support live performances.
Final Verdict: A Must-See Show That Proves Why Theatre Still Matters
Minor gripes aside, My Fair Lady (2024/2025) was a stunning, high-quality production. The performances (mostly) delivered, the visuals were striking, and it was a fantastic reminder of why classic musicals still have a place on today’s stage.
If you missed out on tickets—don’t worry. There are plenty of other productions worth supporting this year.
Upcoming Shows to Watch Out For:
The Cry of Winnie Mandela – Market Theatre (26 Feb – 23 Mar, 2025) – Following its critical and popular success, this play returns to the Market Theatre, offering audiences another chance to engage with its powerful narrative.
Thrill Me – Pieter Toerien Theatre (21 Mar – 13 Apr, 2025) – A gripping musical based on the true story of the “thrill killers” Nathan Leopold and Richard Loeb, exploring themes of obsession and crime.
Dear Evan Hansen – Teatro at Montecasino (15 Mar – 13 Apr, 2025) – The award-winning musical makes its way to Johannesburg, exploring themes of identity and connection.
The Wonderful World of Beatrix Potter – National Children’s Theatre (24 Mar – 21 Apr, 2025) – A delightful production for families, bringing the beloved tales of Beatrix Potter to life on stage.
Zabalaza Theatre Festival – Baxter Theatre (14-22 Mar, 2025) – An annual festival showcasing emerging talents and new works in South African theatre.
Theatre is alive, and it’s up to us to keep it that way.
