Theater’s calling card is that it’s live, but there’s plenty of counter-evidence. Big musicals are often Exhibit A, with their massive machinery, thin books, prerecorded segments and timed-to-the-second routines. Don’t pause with emotion or put your foot amiss lest you fall behind the click track or get run over by a kick line.
All the more satisfying, then, when a musical not only lives in the moment but also changes and grows over time. Such is the case with the revival of “My Fair Lady” at the Vivian Beaumont Theater — still evolving with new stars after 10 months and million in sales.
Upon its opening last April, it was already a plush and thrilling production, befitting Lincoln Center Theater’s tradition of treating classic musicals as both spectacle and living text. While honoring Lerner and Loewe’s 1956 original, the director Bartlett Sher had reframed the story of Henry Higgins, the phonetician who sculpts the bedraggled flower girl Eliza Doolittle into a lady; it became instead the story of Eliza Doolittle, a determined flower girl who, with the bully Henry Higgins as her chisel, sculpts herself.
It is still that story, in outline. But with four replacement principals now fully in place — Laura Benanti as Eliza; Danny Burstein as her father; Christian Dante White as her enthusiastic suitor; and Rosemary Harris as Higgins’s mother — the emphasis has changed in ways that are no less illuminating for being incremental.
Ms. Benanti, who says she has dreamed of playing Eliza since childhood, has used the years well to develop an interpretation that makes equal sense of the flower girl and the lady. In each case, she is self-possessed; it is merely the expression of that self-possession that changes. Outside Covent Garden, selling her violets, she is saucy and calculating: She catches Higgins in a lie and quietly memorizes his address. When he compares her voice to that of a bilious pigeon, she responds — not “quite overwhelmed,” as the script suggests — by expertly imitating the bird in question.
Imitation is key to how this Eliza learns; it is not through Higgins’s drumming vowels into her ear but through observation and mimicry of people who are kind to her. And you can see her working to maintain her hard-won knowledge; even while singing “I Could Have Danced All Night,” she tries out her new vowels: “I’ll never knooooow what made it sooooo exciting,” she rhapsodizes, exaggerating her embouchure.
I mean no disrespect to Lauren Ambrose, who originated the role in this revival, to say that Ms. Benanti is a more effortless vocalist; she dispatches her very difficult and wide-ranging songs with glee, whereas in Ms. Ambrose’s performance, getting through them sometimes seemed like a metaphor for the character’s struggle.
Both ideas make for vivid theater, though the focus changes. Ms. Ambrose emphasized the way society limits a poor woman’s development and opportunity; Ms. Benanti emphasizes the way a gift, and the means to exploit it, can lead to liberation.
The show is lighter as a result, which is not to say it’s less compelling. Ms. Benanti’s scenes with Harry Hadden-Paton, remaining from the original cast as Higgins, are very finely observed, filled with the kind of new detail an extended run encourages.
That’s even more evident with the other principal holdover, Allan Corduner, as Higgins’s pal Pickering. Together the two men have developed a delightful meta-narrative from glances and gestures that connect the dots of an underwritten relationship.
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If the newcomers, other than Eliza, do not have as much opportunity to deliver distinctively original impressions, they make pointed adjustments along the margins. Mr. Burstein, following Norbert Leo Butz as the dustman with the soul of a philosopher, drives home the character’s rhetorical intelligence; I heard, perhaps for the first time, the speech rhythms (“I put it to you, and I leave it to you”) that so impress Higgins.
And as Freddy Eynsford-Hill, Mr. White brings a full-throated tenor (his “On the Street Where You Live” is terrific) that complements a giddy, almost unbridled enthusiasm. This makes for less of a comment on effete society, as Jordan Donica’s hilariously twitty take on the character suggested, than a satire on the deracination of love.
But it is the recasting of the smallest principal role that makes the most touching difference, and like everything connected to Ms. Harris’s stage presence, her success as Mrs. Higgins cannot be pinned down. Of course, one is so delighted to see her, at 91, some 67 years after her Broadway debut, carrying on with such aplomb. But it’s more than that. Ms. Harris has found a way into a role that has resisted most previous exploration, and then carried it off with exquisite taste. With little fuss and fewer words, she sketches a woman whose independence and complacency help explain her son’s more toxic versions of each.
When Higgins, distraught over Eliza’s departure, cries, “What am I to do?” she answers sweetly but without undue sympathy, “Do without, I suppose.” She’s not about to waste her time trying to change someone who does not want to be changed.
Wanted and unwanted change are exactly what “My Fair Lady,” like “Pygmalion” before it, is about. I mean change in individuals, of course, but also, as this blooming revival and its success make clear, in society. As such, its portrait of bullies and resistance may never wear thin. At least not this year.B:
港彩奇经【【是】【否】【花】【费】【五】【百】【万】【源】【币】？】 【系】【统】【的】【提】【示】【音】【响】【起】。 “【掠】【夺】【吧】！” 【方】【羽】【眼】【眸】【微】【冷】。 【随】【着】【方】【羽】【声】【音】【落】【下】，【一】【道】【无】【形】【的】【波】【动】【陡】【然】【散】【开】。 【正】【在】【操】【纵】【着】【秩】【序】【神】【链】【的】【血】【红】【世】【界】【意】【志】【忽】【然】【精】【神】【一】【阵】【恍】【惚】，【一】【股】【莫】【名】【的】【力】【量】【正】【在】【侵】【蚀】【着】【他】【的】【意】【志】，【就】【连】【操】【控】【着】【秩】【序】【神】【链】【都】【有】【些】【不】【稳】。 “【什】【么】【东】【西】？” 【血】【红】【世】【界】
【方】【召】【从】【薛】【景】【那】【里】【离】【开】【之】【后】，【就】【直】【接】【前】【往】【银】【翼】【传】【媒】【总】【部】。 【方】【召】【过】【来】【的】【时】【候】【很】【低】【调】，【见】【空】【中】【的】【来】【往】【的】【飞】【车】【比】【较】【多】，【空】【中】【车】【道】【快】【被】【占】【满】【了】，【很】【是】【忙】【碌】【的】【样】【子】。 “【这】【两】【天】【不】【知】【道】【怎】【么】【回】【事】，【娱】【乐】【圈】【热】【闹】【了】【很】【多】，【尤】【其】【是】【金】【字】【塔】【上】【面】【的】【那】【一】【批】，【格】【外】【活】【跃】。”【南】【风】【将】【车】【开】【往】【银】【翼】【总】【部】【的】【地】【下】【停】【车】【场】，【一】【边】【跟】【方】【召】【说】【着】【他】【了】【解】
【曲】【峰】【将】【自】【己】【的】【组】【员】【命】【令】【出】【去】【之】【后】，【看】【向】【最】【后】【一】【个】，“**，【咱】【们】【两】【个】【进】【去】，【没】【有】【问】【题】【吧】”。 【谢】**【摇】【了】【摇】【头】，【表】【示】【自】【己】【没】【有】【意】【见】。 【曲】【峰】【带】【着】**【走】【进】【了】【瀑】【布】【里】【面】，【墨】【笙】【看】【着】【走】【进】【来】【的】【两】【个】【人】，“【你】【们】【也】，【算】【了】，【谨】【慎】【点】【也】【好】”。 【曲】【峰】【看】【见】【墨】【笙】【的】【样】【子】，“【以】【你】【的】【年】【龄】【不】【应】【该】【在】【这】【里】”。 “【相】【信】【我】，【我】【比】
【总】【管】【正】【准】【备】【把】【饭】【菜】【都】【撤】【下】【去】，【结】【果】【一】【团】【白】【色】【的】【身】【影】【就】【扑】【到】【了】【桌】【子】【上】。 【总】【管】【正】【准】【备】【开】【口】【训】【斥】，【就】【被】【离】【硕】【冉】【制】【止】【了】。【总】【管】【没】【办】【法】【退】【了】【下】【去】。【离】【硕】【冉】【就】【盯】【着】【狼】【吞】【虎】【咽】【的】【叶】【紫】【涵】。 【知】【道】【叶】【紫】【涵】【把】【桌】【子】【上】【的】【东】【西】【消】【灭】【的】【差】【不】【多】【了】，【才】【打】【了】【一】【个】【饱】【嗝】，【仰】【躺】【在】【桌】【子】【上】，【爪】【子】【还】【时】【不】【时】【的】【摸】【摸】【圆】【圆】【的】【肚】【子】，【感】【概】【到】：“【好】【久】【没】【吃】港彩奇经“【想】【不】【到】【斗】【气】【大】【陆】【还】【藏】【着】【这】【种】【秘】【密】，【真】【令】【人】【惊】【讶】【啊】！” 【天】【府】【联】【盟】，【药】【尘】【摸】【着】【心】【脏】，【那】【里】【有】【着】【奇】【怪】【的】【波】【动】，【正】【是】【灵】【种】。 【萧】【炎】【回】【想】【起】【这】【些】【秘】【密】【也】【忍】【不】【住】【唏】【嘘】：“【贪】【婪】【是】【人】【类】【的】【本】【性】，【灵】【胎】【终】【究】【没】【有】【和】【人】【类】【有】【过】【深】【的】【接】【触】。【这】【也】【让】【他】【付】【出】【代】【价】，【从】【三】【十】【万】【年】【前】【的】【精】【神】【奕】【奕】【变】【成】【今】【天】【的】【颓】【废】【落】【魄】。” “【唉】！【其】【实】【先】【民】
【信】【的】【落】【款】【处】【没】【有】【名】【字】，【这】【在】【武】【朝】【的】【传】【统】【当】【中】【是】【以】【后】【不】【再】【见】【面】【的】【意】【思】。 【张】【之】【然】【二】【人】【抬】【起】【头】，【看】【向】【楚】【掌】【门】。【杨】【轻】【扇】【开】【口】【说】【道】：“【楚】【掌】【门】【想】【怎】【样】【对】【待】【葛】【家】【庄】【的】【人】【落】【草】【为】【寇】【的】【事】？” “【不】【作】【恶】【则】【放】【之】，【作】【恶】【则】【除】【之】。”【楚】【丰】【叹】【了】【口】【气】【说】【道】。 【坐】【在】【楚】【掌】【门】【身】【边】【的】【楚】【夫】【人】【在】【听】【楚】【掌】【门】【的】【回】【答】【时】【脸】【上】【的】【表】【情】【出】【现】【了】【明】【显】【的】【变】
【不】【用】【瞎】【想】，【先】【跑】【了】【再】【说】。 【李】【国】【杰】【几】【人】【连】【夜】【跑】【路】。【好】【在】【离】【盘】【丝】【洞】【不】【远】【就】【有】【一】【个】【小】【镇】，【众】【人】【来】【到】【镇】【子】【落】【脚】。 【玉】【面】【公】【主】【差】【点】【坑】【了】【李】【国】【杰】【一】【把】，【李】【国】【杰】【也】【就】【不】【客】【气】【了】。【他】【拿】【出】【玉】【面】【公】【主】【和】【她】【父】【亲】【的】【内】【丹】【送】【给】【春】【三】【十】【娘】，【给】【她】【疗】【伤】【恢】【复】【法】【力】。 “【真】【的】【给】【我】！？”【春】【三】【十】【娘】【有】【些】【惊】【异】。【要】【知】【道】，【妖】【怪】【的】【内】【丹】【可】【不】【简】【单】，【包】
【没】【用】【上】【多】【长】【时】【间】【之】【后】，**【与】【木】【头】【两】【人】【就】【出】【了】【巷】【道】。 【唰】！ 【一】【股】【蕴】【含】【着】【沧】【海】【桑】【田】【岁】【月】【变】【迁】【的】【古】【朴】【气】【息】【迎】【面】【而】【至】。 “【主】【人】【来】【过】【这】【里】。”【木】【头】【喃】【喃】【自】【语】。 “【什】【么】？”**【不】【由】【得】【微】【微】【一】【怔】，“【木】【兄】【主】【人】……” “【我】【记】【着】【主】【人】【的】【身】【上】【就】【有】【这】【样】【的】【气】【息】。”【木】【头】【看】【上】【去】【痴】【痴】【傻】【傻】，“【主】【人】【去】【过】【的】【每】【一】【处】【地】【方】【都】