Daily Info sat down with Dan Whitley, the director of Pygmalion, to chat about this upcoming production, the Oxford Theatre Guild's 70th Aniversary, and to see what the group has in store for audiences.
Daily Info: What’s Pygmalion all about?
Dan Whitley: At its heart, Pygmalion is about transformation - both self-driven and imposed by others. Eliza Doolittle, a working-class flower seller, is taught to speak like a lady by Professor Higgins, but the process is far from a simple fairytale. Shaw’s sharp wit and critique of class, gender, and power dynamics make this play just as relevant today as when it was first staged. Who truly owns a transformation: the individual who changes, or those who shape them? And what happens when you no longer fit into the world you came from - but don’t quite belong in the one you’ve entered?
DI: What can audiences expect from this production?
DW: We are keeping the play in its original early 20th-century setting, but our approach digs deeper into the human cost of Eliza’s transformation. Rather than an overnight success, her journey is gradual, full of struggle and shifting self-worth. We have also entirely de-romanticised her relationship with Higgins to become a richer story. By removing the pseudo-Romantic elements - whose portrayal Shaw was never quite satisfied with when it was initially staged - we open up the play to be much more cutting, incisive, dynamic, and meaningful. Their dynamic isn’t a love story - it’s about control, agency, and the consequences of treating people as experiments.
At the same time, audiences can expect all the sharp humour and social satire that always makes Pygmalion a joy to watch. Alfred Doolittle’s commentary on ‘middle-class morality’ is as pointed as ever, and Shaw’s language still crackles with energy. The setting, costumes, and period detail will transport audiences to pre-war Britain, where rigid social structures were just beginning to fracture.
DI: How are you approaching staging Pygmalion on the Playhouse's stage?
DW: We’ve been fortunate to hire in a My Fair Lady set, which allows us to create the play’s distinct locations - the bustling streets of Covent Garden, Higgins’ study, and the grand drawing rooms of high society. The Playhouse’s stage gives us a great canvas to work with, so we’re making full use of the space to reflect Eliza’s journey. We start in a world that dwarfs her and move towards a more commanding presence by the final act. Traditional period costumes help ground the production in its time, reinforcing how class distinctions were visibly reinforced through dress and presentation.
DI: What do you think George Bernard Shaw's play has to offer for a modern audience?
DW: Though Pygmalion is over a century old, its questions about power, autonomy, and social mobility remain strikingly relevant. Eliza’s struggle isn’t just about learning to speak differently - it’s about whether she truly gains independence, or simply trades one set of limitations for another. The way society tries to shape and define women, and the assumption that class mobility automatically equals freedom, are issues that still resonate today.
Higgins is another reason the play feels modern - he isn’t a villain in the traditional sense but is a privileged man blind to the consequences of his actions. We have worked to make him feel accessible and approachable for a 2025 audience. His treatment of Eliza reflects a broader societal pattern: men exerting control over women under the guise of ‘helping’ them. By the end of the play, Eliza’s real transformation isn’t just about speech or manners - it’s about claiming her own agency. That’s a message that still feels urgent.
DI: This is part of Oxford Theatre Guild's 70th Anniversary. What else does the group have in store for 2025?
DW: It’s a big year for the charity! Following Pygmalion, we’ll be bringing Twelfth Night to Oxford University Parks in July, which is a perfect summer Shakespeare. We also have productions lined up for local theatre festivals and will be staging another show in the autumn, which will be announced soon. It’s an exciting time, and Pygmalion is a great way to kick off this milestone year.
DI: Can you sum the production up in three words?
DW: I couldn’t quite narrow it down to just one three-word phrase, so here are a few that capture different elements of our approach:
“Witty, provocative, relevant” – Shaw’s humour, social critique, and sharp writing remain as impactful as ever.
“Language, power, freedom” – Eliza’s journey is about much more than speech - it’s about who gets to define her identity,
and finally "not a romance!"
Pygmalion runs at the Oxford Playhouse from Tuesday 1st to Saturday 5th April and tickets can be found on the theatre's website.
Head over to our competitions page to be in with a chance to win a pair of tickets to the opening night.
Photo credits: Cate Nunn and Eleanor Barraclough-Whitley