When George Bernard Shaw wrote Pygmalion more than a half century ago, it seemed unlikely that his little play would eventually be converted into one of the great musicals of our time, My Fair Lady, and a motion picture that captured numerous Academy Awards. Yet such popularity should not have been surprising since succeeding generations of readers and playgoers find continual relevance in the story of a speech therapist who successfully converts an untutored flower girl into a darling of high society. The extraordinary wit of the master dramatist of the twentieth century has not lost its sharp edge as it cuts away at the artificially of class distinctions and the callousness of indifference to human worth.
When George Bernard Shaw wrote Pygmalion more than a half century ago, it seemed unlikely that his little play would eventually be converted into one of the great musicals of our time, My Fair Lady, and a motion picture that captured numerous Academy Awards. Yet such popularity should not have been surprising since succeeding generations of readers and playgoers find continual relevance in the story of a speech therapist who successfully converts an untutored flower girl into a darling of high society. The extraordinary wit of the master dramatist of the twentieth century has not lost its sharp edge as it cuts away at the artificially of class distinctions and the callousness of indifference to human worth.
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