About the Show

Award-winning revival production of Lerner and Loewe's beloved musical comedy transfers to London.

Set in the year 2043, a village that is east of Jerusalem is slowly being destroyed. Against a backdrop of conflict, married couple Reem and Sayeed love to go dogging in an area of contested land.

A tragicomedy that strays from the alleged convention that all plays set in Palestine must be serious.

Playwright Sami Ibrahim won the 2019 Theatre Uncut Political Playwrighting Award. Directed by Omar Elerian ('Misty').

Critic Reviews (10)

Okereke’s ambitious Eliza can hold her own. Harry Hadden-Paton, reprising the role from Broadway, is a riveting whirlwind of a Higgins. The supporting cast is more of a mixed bag ... Most glaringly, Amos is miscast as Doolittle.
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What makes Bartlett Sher’s ... production exciting is clear: two lead performances. Almost everything else, unfortunately, is problematic. Conductor Gareth Valentine has a hugely luxurious 36-piece band ... [that is] badly muddied by the baffling decision to smother them with orchestral amplification.
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This classic musical is back in this English National Opera revival that brings out the joy of this show and presents it in exactly the way it was always envisioned. This light and fluffy musical does have its sincere moments but don’t expect anything too groundbreaking
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There are elements of this production that feel underpowered. Michael Yeargan’s eye-catching picture-book design has its snags. I wasn’t persuaded that Stephen K Amos as Eliza’s feckless pa was at home at a knees-up. [But Amara] Okereke flowers into magnificence.
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Amara Okereke absolutely smashes it in Bartlett Sher’s joyful staging. Sher manages [to showcase a fresh production of the show] and has surely also turned Okerere from a promising actress into a bona fide star.
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Bartlett Sher’s production is slick and accomplished, but loses the narrative's subtlety in a crowd-pleasing burst of top-hatted kitsch. This production will just about satisfy its fans, without offering enough to win over sceptics.
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It is solidly performed all round but characterless and sedate. Funny moments ... never really catch fire. The chemistry between Higgins and Eliza never kicks in. Could it be that this Disneyfied Englishness is simply built to win the hearts, and wallets, of West End tourists or is that too cynical?
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This is a very decent, very stylish, eventually quite audacious My Fair Lady. Not, though, a great one. If the evening doesn’t raise the heart rate, the gear change at the end ensures a decent revival ends up somewhere more memorable.
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