The stage version of My Fair Lady you directed has toured Australia for a year, and is now back in Sydney where it opened. Musicals come and go — why has this one endured?

Well, for several reasons. At base, it’s a Cinderella story and a love story that emerged at the height of the great golden era of Broadway musicals. And it has everything it needs to have: gorgeous songs and lyrics, phenomenal books, great costumes, incredible choreography and a big, sweeping story of importance about society.

Last year, cast member Robyn Nevin told a journalist you “smell delicious”. Did you know this?

[Laughs.] Oh, no! I wasn’t aware of that, but I’m glad she thought so. I do love perfume — I don’t lather it on, believe me. But if she smelled it on me and liked it, I’m thrilled.

People consider you a legend, and can become flummoxed in your presence. Do you find that a little ridiculous?

Why do you think that is? I mean, it’s not ridiculous to me, but it’s sad. Because I think of all people — well, I hope I’m very approachable. I love talking to people. It’s hard to shut me up, as you’ll probably find within the next several minutes.

You have said two of your most famous roles — Mary Poppins and Maria in The Sound of Music — served as feminist icons for generations. Growing up, who played that role for you?

Really early, it was a singing teacher who was a wonderful mentor and a very kind lady — who taught me a great deal about not just singing but also life. I loved the great sopranos, and admired some great movie stars.

I’ll never forget when I did My Fair Lady on Broadway, [actor] Ingrid Bergman came to see our show, as did [opera singer] Maria Callas. And the ladies asked if they could borrow my bathroom after such a long show — which it is — and I hardly dared sit on the toilet seat for weeks after that, I was so impressed.

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