A classic of British theatre is being reawakened - this time with a distinctly Vietnamese breath.
On the evening of April 2, audiences in Hanoi witnessed a compelling cultural dialogue as Pygmalion by George Bernard Shaw premiered at the Hanoi Academy of Theatre and Cinema. Directed by Duong Thi Thanh Huyen, the production marks a bold reinterpretation of a work first written in 1912.
This production of “Pygmalion” carries a fresher, more relatable spirit.
Long regarded as one of Shaw’s most iconic plays, Pygmalion tells the story of phonetics professor Henry Higgins and flower girl Eliza Doolittle. What appears to be a journey of linguistic transformation is, at its core, a sharp dissection of class, prejudice and the human need for recognition.
On the Hanoi stage, that spirit remains intact - but the storytelling has shifted.
This is no longer a faithful reproduction of a European classic. Instead, the play takes on a new vitality, becoming more immediate, more relatable and deeply resonant with contemporary Vietnamese society.
At the heart of this transformation lies the directorial vision of Duong Thi Thanh Huyen. Rather than retelling a canonical work, she reconstructs it within a new cultural context.
It is a delicate undertaking. The line between innovation and distortion is thin. Yet this production finds its balance - preserving the intellectual sharpness, satire and logic of British theatre while infusing it with a distinctly Vietnamese sensibility.
The setting of London remains, and the characters retain their familiar names. But the staging - from scenography and music to lighting and performance style - opens up new layers of meaning.
Language, the central motif of the original, is no longer merely a marker of class distinction. Here, it becomes a mirror reflecting regional diversity, social friction and the lingering prejudices embedded in modern life.
Eliza’s journey, therefore, is not just about learning to speak correctly. It is about learning to be seen.
And that, perhaps, is what makes the story feel so close to home.
The production’s subtlety lies in its approach to cultural adaptation. It neither imposes a forced “Vietnamization” nor clings rigidly to Western conventions. Instead, it listens, selects and re-creates.
The humor and sharpness of Shaw’s dialogue are still present. Yet the rhythm of exchanges, the handling of dramatic pauses and even the silences on stage carry a familiarity that feels both new and recognizable. Audiences can sense Shaw’s spirit while also seeing reflections of their own lives.
This intersection creates a shared space - where cultures do not overwrite one another but illuminate and enrich each other.
At a deeper level, this version of Pygmalion moves beyond social critique. It raises a more fundamental question: who can a person become, when given the chance to speak in their own voice?
Eliza’s transformation is not defined by how perfectly she speaks, but by whether she gains the right to define herself.
Through this staging, that message becomes strikingly immediate. It speaks to universal, everyday aspirations - to be acknowledged, to be heard and to transcend the invisible boundaries imposed by society.
Under the artistic direction of Meritorious Artist Bui Nhu Lai, and performed by a young cast from the Hanoi Academy of Theatre and Cinema, the production carries a vibrant, emotional energy.
Nguyen Minh Tra brings a layered sensitivity to Eliza Doolittle, while Han Quang Tu as Henry Higgins and Nguyen Hoang Tung as Pickering contribute depth and balance. The creative team - including music by Meritorious Artist Thanh Nam, set design by Hoang Duy Dong and choreography by Nguyen Thuy Chau - shapes a cohesive experience that blends visual elegance with emotional nuance.
The play is set to represent Vietnam at the 8th Asian Theatre Education Center Festival (ATEC) in China this May.
Vietnamnet.vn
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