Tod Petersen, Joshua Burniece (pianist), Jon-Michael Reese, Wesley Frye (pianist), and Anna Hashizume Photo by Dan Norman

Here's why you should see My Fair Lady again: Theater Latté Da's production is over-the-moon marvelous. It is beautifully sung, acted with flair, exquisitely designed, and staged with obvious love for the material. It is also, in director Justin Lucero's magical hands, much funnier than any My Fair Lady I have seen (this is my fifth) while conveying its message with an abundance of heart.

From the moment you walk into the theater you are likely to know that you are in for something special, viewing Eli Sherlock's gorgeous set, a revolving set-piece with the streets of Covent Garden on one side and the posh parlor of Henry Higgins home on Wimpole Street on the other. Rising tiers, like a wedding cake, join at the center on which are perched the show's entire instrumental corps of two pianos: an upright and, at the very pinnacle, a baby grand.

At the top of the show, the two pianists enter to perform the overture, one of the Golden Age's best. Joshua Burniece, who doubles as conductor, in formal attire and Wesley Frye in shirtsleeves and a vest fit for playing at a Soho pub take turns on the lilting Frederick Lowe melodies as if playing at dueling pianos, joining forces for the last entry, the soaring "I Could Have Danced All Night." Bliss, and the show proper hasn't even started.

Then it begins, with cast members adorned in Amber Brown's beautifully detailed costumes, which might have been swiped from a museum of 1910s English attire, though these probably have more splashes of color than was commonly seen in the streets back then. Jon-Michael Reese as Henry Higgins kicks off the musical fare declaiming aloud "Why Can't the English?," bemoaning the careless dialects of virtually every block of London, to say nothing of the rest of Britain, that insult the dignity of the mother tongue. Reese's Higgins is robust, full of energy and high spirits, mining comic business I never imagined to be possible from the character, and sung with a full voice that does not require talking-through the numbers, as has often been done. Reese continues in a comedic vein with "I'm an Ordinary Man" and "A Hymn to Him," but shifts into an introspective, yearning voice to deliver a moving "I've Grown Accustomed to Her Face."

Next up is Eliza Doolittle gloriously acted and sung by Anna Hashizume, proving to anyone who ever doubted that she can carry a show on her shoulders. Her first turn, "Wouldn't It Be Loverly," is delivered in her clear soprano, backed by a jaunty quartet of cockney friends, all in accents that feel authentic without slipping into the trap of being indecipherable (Gillian C. Rosewell is the production's dialect coach). The number gives us the first taste of Abby Magalee's choreography, buoyant while remaining in character, exhibiting both grace and good humor. Hashizume offers one prize after another: "Just You Wait," "I Could Have Danced All Night," "Without You," and a roof-raising "Show Me," and does equal justice to the comical and the dramatic elements of Eliza's development from self-effacing flower-seller to proud woman ready to make a stake for her place in society.

Another scene introduces us to Eliza's deadbeat father Alfred P. Doolittle, played with aplomb by Adán Varela, who convinces us that the man really is a low life, yet makes him wholly likeable as he shares his philosophy of getting by "With a Little Bit of Luck," joined in singing and dancing by the same cockney quartet in delightful faux marches and other witty stage business. Varela conveys Alfred's undeserved self-pity and pragmatism with great humor, giving us another healthy dose in "Get Me to the Church on Time."

In addition to these three key roles, Felix Aguilar Tomlinson makes a startling impression as Eliza's dewy-eyed suitor, Freddy, creating a laughably boyish impression until he bursts into song with a glorious tenor. Tod Petersen creates the very epitome of amiable and good-hearted Colonel Pickering, Higgins' accomplice on the project of transforming Eliza from "guttersnipe"–Higgin's words–into an elegant lady who fits in at the Embassy Ball.

Norah Long is marvelous as Henry Higgins' dignified mother, who sees all too plainly the folly of her son's ways. Corissa Bussian is excellent as Higgins' housekeeper, Mrs. Pearce, who balances a concern to uphold dignity in the house while having sympathy for Eliza's plight. The remainder of the ensemble all perform expertly, be it singing, dancing, or merely looking fabulous in the Ascot Gavotte. When the two pianists occasionally interact with the characters, it is accomplished with a winking quality that only further enhances the show.

The rotation of Sherlock's exquisite set is handled smoothly between scenes, making for seamless transitions throughout. Other tech credits are first rate, with Shannon Elliott's lighting design and Kevin Springer's sound design both adding to the luster of the production.

Finding so much humor in Alan J. Lerner's book comes as a surprise to me. After the witty depiction of her agonizing elocution lessons, the exuberance of Eliza's breakthrough moment, "The Rain in Spain," is delivered with elation by Reese, Hashizume, and Petersen. But the production also does well by the message of acceptance of individuals for who they are, not where they were raised or what accent affects their speech. When Eliza complains to Higgins that he treats her so much worse than anyone else does, he fires back, yes, but that he doesn't treat anyone else better than he treats her–in effect, that he is equally rude to everyone. However, this is not what we see. He addresses his housekeeper with more respect than he shows to Eliza, and certainly to the courtly people at Ascot and the Embassy. He may not have realized the truth in Eliza's words, but she isn't about to wait for him to see the light, as she has seen it for herself.

I admit, before entering the theater, I had some doubts of my own as to whether another take on My Fair Lady would do more than gently amuse me. Those doubts have vanished, for this spectacular production does justice to the show as a sparking piece of Broadway history, while making it feel new, insightful, and effervescent. When Eliza, in one key scene, cries out to the racehorse on which she holds a ticket, "Move yer' bloomin' arse," she might be also telling anyone harboring doubts as I was to hasten to the Ritz Theater for what is a gift to the theater season.

Theater Latté Da's My Fair Lady runs through December 28, 2025, at the Ritz Theater, 345 13th Avenue NE, Minneapolis MN. For tickets and information, please call 612-339-3303 or visit theaterlatteda.com.

Book and Lyrics: Alan Jay Lerner adapted from George Bernard Shaw's play Pygmalion and Gabriel Pascal's motion picture Pygmalion; Music: Frederick Lowe; Director: Justin Lucero; Music Director: Denise Prosek; Choreography: Abby Magalee; Scenic Design: Eli Sherlock; Costume Design: Amber Brown; Lighting Design: Shannon Elliott; Sound Design: Kevin Springer Wigs, Hair and Makeup Design: Priscilla Bruce, Emma Gustafson; Props Design: Madelaine Foster; Dialect Coach: Gillian C. Rosewell; Technical Director: Bethany Reinfeld; Stage Manager: Joelle Coutu; Assistant Stage Managers: Austin Schoenfelder, Grace Happe; Production Stage Manager: Shelby Reddig; Director of Production: Kyia Britts.

Cast: Joshua Burniece (Pianist and Conductor), Corissa Bussian (Mrs. Pearce/ensemble), Katie Bynum (Cockney Quartet/ensemble), Wesley Frye (Pianist), Anna Hashizume (Eliza Doolittle), Kiko Laureano (Mrs. Eynsford Hill/George/ensemble), Norah Long (Cockney Quartet/ Mrs. Higgins/ensemble), Tod Peterson (Colonel Pickering), Jon-Michael Reese (Henry Higgins), Richard Rigmaiden (Cockney Quartet/ensemble), Keegan Robinson (Cockney Quartet/ensemble), Felix Aguilar Tomlinson (Freddy Eynsford Hill/Karpathy/ensemble), Adán Varela (Alfred P. Doolittle/ensemble).