It does not happen to all the “classics” of the musical theater to always be “young”. The fortune of a musical often lies in the movie’s palmares or the piece from which it is taken.
The musical My fair lady owes its own “immortality” to itself.
To what he tells, to how he translates it into emotions, to the smiles that he causes, to the universality of his musical language.
The “fair lady” Eliza Doolittle is a bit ‘Cinderella, a little’ Pretty Woman, Mary Poppins, a little ‘Beauty and a bit’ Beast, in short is the archetype of redemption, revenge, affirmation, transformation and thus it embodies the desire and the dream of the whole female universe that sympathetically participates from the first moment in its adventure.
But in the end, and here imposes in all its stature George Bernard Shaw inspiring with his “Pygmalion” of the musical version, even the masculine key of the story yields to the force of emotions and feelings: only you are not complete and also an apparent “Convinced misogynist and bachelor” as Prof. Higgins or “misfortune” colleague Colonnello Pickering, or the cynical and ruthless father of Eliza, Alfred Doolittle, are forced to undress the mask of hardness and cover themselves with a veil of sweetness.
At a time when it seems that the short-circuit of human relationships has interrupted the passage of energy between people, My Fair Lady imposes itself as a “generator of electricity” that grants a beautiful “shock” to our soul.