"The two stars [Bertie Carvel and Patsy Ferran] dominate amid a fine supporting cast, even if this is a weird choice of revival"
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“The production feels strangely like a museum piece despite its contemporary visual elements.”
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"All in all, it’s an incredibly frustrating evening, a wasted revival of a play that for all its old-fashioned notions, still speaks resonantly – and impeccably – to the modern age."
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"Patsy Ferran is a brilliant Eliza Doolittle – but this flamboyant production undercuts the key message of George Bernard Shaw’s classic"
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"True, the bittersweet final third of Richard Jones’s characteristically capering production finds some of the grace and sting excluded from the preceding hour-plus. Yet by then you’ve been shouted at for so long by outsized characters trying so hard to be funny that it’s almost as if a fresh play has started. It is a loud and insistent evening."
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"A knowing mishmash of anachronism and acting styles, it is not quite conceptually coherent. It’s up to the performances – especially Patsy Ferran’s as Eliza Doolittle – to cut through the Shavian rhetoric and the production’s wilful idiosyncrasies, and redeem the whole experience from becoming utterly confounding and emotionally remote."
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"Despite having every opportunity, including an impressive cast, this 'Pygmalion' can’t quite elevate its status beyond bland revival."
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"Staged in its original form with big stars Patsy Ferran and Bertie Carvel as the leads, this play is harder to love – somehow, it feels more obvious that its funniest lines are at the expense of a working-class woman who dares to step out of line..It’s a play that’s ripe for pulling apart and reimagining by a feminist director. For now, it feels like a curious thing: a glass showcase for Carvel and Ferran to fill with towering, uneasy displays of acting elan."
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