Lerner and Lowe’s musical version of George Bernard Shaw’s “Pygmalian” is many things. Entertaining, funny and charming to be sure, but beneath the flowery exterior lies Shaw’s caustic, scathing indictment of English society and the class struggles that provide fodder for political satire, examining the outmoded social system that still somehow exists across the pond to this day. While many parts of the world have outgrown the antiquated mores that once reigned supreme amongst those who spoke the Queen’s English only, the mere fact that the British monarchy still flourishes is reason enough for “Lady” still to be fair game as a source of ridicule, and the musical interpretation of Shaw’s condemnation of the upper class continues to have merit, if for no other reason than to illustrate the folly of judging a book by its cover.

The latest offering from the Forestburgh Playhouse serves as a love letter to the original work, since it succeeds on practically every level. Beautiful to look at, Bradley Wehrle’s scenic design is perfection, enhanced by Michael O’Connor’s effective use of lighting and highlighted by Ashleigh Poteat’s keen eye for period costume detail that makes the entire production pretty as a picture. Director Misti Wills has a lot to work with, utilizing the stage nicely while employing a fine cast of actors, smartly taking advantage of the talent in residence this year. That core group is comprised of young folks who signed on for the entire summer and perform a multitude of duties throughout the season, which includes, but is not limited to, performing in the cabaret and assisting backstage while dancing, singing, living and breathing theatre all summer long. Traditionally, Summer Stock is an opportunity for these kids to soak up as much as they can, looking to the more seasoned professionals who grace the stage each year, floating in and out of Forestburgh as their hectic schedules allow, since many of these actors are in high demand, having honed their craft in just such an environment themselves. The chorus worked hard, elevated by the seasoned veterans they supported on stage and as a result, delivered in spades. One of the best examples of this notion is the undisputed Queen of the Forestbugh Playhouse, Jessica Wagner. Having racked up scads of rave reviews in the past, Wagner’s performance is a testament to hard work, determination and an arsenal of talent that never ceases to amaze. Wagner’s vocal prowess is amazing and soars as the character takes wing, sweeping the audience along with her as Eliza Doolittle finds herself stuck between the two worlds, unsure of her place in society. Wagner’s performance as Doolittle is impressive, as the flower girl blossoms from cockney “guttersnipe” to stunning elegance personified under the tutelage of the pompous, stuffy, sometimes reprehensible Henry Higgins, performed with gusto and panache by the multi-talented Bruce Sabath. No stranger to the playhouse himself, it was refreshing to see Sabath perform with others of his caliber, surrounded by actors who are up to the task, and while I wanted to hate Henry Higgins, Sabath’s layered interpretation allows the opportunity to empathize with the character’s need for growth, which thankfully occurs before the final curtain. Aided and abetted by Colonel Pickering, (Chet Carlin), Higgins’ determination to prove himself right at any cost is constantly hovering on the verge of despicable, and Carlin’s refreshing and often humorous turn as Pickering offers the audience the opportunity to truly appreciate the character’s voice of reason, amidst the ridiculous demands that Higgins places on the heroine.

“Lady” is laced throughout with comic relief, most notably in the form of Eliza’s drunken, opportunistic lout of a father, Alfred, and the on-stage antics of actor Kevin Remington are a delight. Remington breathes great life into his character and the audience howled with appreciation each time he appeared on stage, culminating with his show-stopping turn performing one of the show’s best numbers, “Get me to the Church on Time.” Once again the supporting players had an opportunity to shine, and choreographer Gabriella Perez made the most of the players with some nice moves of her own. Remington and the company brought the house down in a production that glitters, with very few glitches along the way. While there are no “small parts” as theatre guru Stanislovski once said, it is a challenge for the lesser roles to stand out, and while Nathaniel Riccio’s turn as lovable simpleton Freddy Eynsford-Hill is performed with verve, his strong voice could use a little control. Still young, Riccio is hopefully looking to the others for inspiration and shows promise, so we’ll keep our eyes on him as he continues to flex his acting muscles. Conversely, Stanislavski could have been talking about character actor Margaret Hill, who portrays Mrs. Higgins with great style, humor and pathos that a lesser performer might have thrown away, but Hill’s limited time on stage is solid gold.

“My Fair lady” has stood the test of time, but in less capable hands might be “just okay.” Thankfully, this production shines and provides new audiences a great example of what made the original a monster hit on Broadway and the silver screen. A must-see for the uninitiated and a loving tribute to those wishing to experience the musical anew, the Playhouse once again provides a “Miracle in the Forest” for a new generation. For reservations and information visit www.FBPlayhouse.org or call 845-794-1194