Despite interesting turns from Olivier winners Bertie Carvel and Patsy Ferran, this revival doesn’t make much of a case for the Shaw classic
6 / 10
It’s like Jones has put ‘Pygmalion’ under a magnifying glass and we’re all examining it. He’s not really changed it and he’s not casting any particular value judgement, he’s just enlarged the whole thing, so that what was once light comedy has become broad farce. There’s barrelling, discordant piano music bringing a frantic mood to each scene change, and a cold, not-quite-real set by Stewart Laing of pink pegboard, with doors that open and slam shut with great regularity.
