Pygmalion

The Observer“An interesting cast deliver the core of the play...” There's fresh insight in the supporting parts. Phil Davis plays Mr Doolittle like a loquacious jockey, bouncing on the roll of his own rhetoric. Peter Eyre is a meticuous Colonel Pickering, lacing his affability with self-importance...

The Arts Desk“The casting may not be so witty as Everett hoped...” Rupert Everett spends a good deal of his stage time flipping his coat tails and speaks as if the script bore the word "incorrigibly" before every sentence. His Higgins is excessively sulky, slouchy, selfish to the last...

The Independent“More interesting than most Pygmalions...” The tragedy of Henry Higgins is a point beautifully made in Philip Prowse's sleek revival, with Eliza's wedding bells sounding like a death knell in Higgins's ears; Rupert Everett sits alone downstage, a bearded manipulator, pierced to the soul...

Whatsonstage.com“Two intervals in a not very long play, this smacks of self-indulgence... ” Rupert Everett doesn’t look comfortable as Higgins. He's older than Shaw’s description, but he acts younger – in fact, he acts too young, looking like he’s been expecting the call to play Hamlet rather than a phonetics professor...

Financial Times“All effect and little substance...” Eliza spends much of the first act either facing away from us or with her head turned down, and most of her lines reached my seat in Row H as undifferentiated squawks. Everett is a comparatively one-note delivery...

The Telegraph“Bubbling with wit and warmth...” The play is indestructible, and though Rupert Everett seems too modern, too louche and not quite posh enough as Higgins, Honeysuckle Weekes is a delightful Eliza. One would have welcomed a director less perverse than Prowse...

this is london“A largely indestructible play, able to run on its own dramatic generators..” Philip Prowse’s glossy show begins to stutter after the second of two momentum-sapping intervals. Everett proffers an appealing combination of confidence and disdain as a youthful-looking Henry Higgins. It’s a pity, that he often seems awkward...

Guardian“It is half-baked to suggest this is a play about performance...” This revival, directed by Philip Prowse, strikes me as a coarse, strident affair that misses much of its psychological subtlety. Everett's saturnine Higgins strikes a note of rasping anger from which he scarcely shifts...

The Stage“Some of the rhythms are off from the very beginning...” Honeysuckle Weeks’s Eliza Doolittle cockney is so broad that it is virtually incomprehensible. Everett - like a beaky, bearded version of Penelope Keith - fails to shade Higgins with anything more than alternate notes of petulance and pride...

New Statesman“Not yet reviewed”