Funny Girl – Deflated
Unless you’ve been living under a rock you know that the musical Funny Girl tells the story (with liberties) of comedienne Fanny Brice (1891-1951) rising from lower class Brooklyn to become a Ziegfeld Follies star. Brice married gambler Nick Arnstein who was incarcerated for embezzlement. They parted ways when he got out of prison.
There’s a reason this musical hasn’t seen a major revival in 60 years. How do you adapt something created bespoke for a performer with the outsized talent of Barbra Streisand?!
In an effort to make the star turn a tad less overwhelming, Harvey Fierstein’s new book somewhat expands the roles of Fanny’s mother (Jane Lynch, who works at dry wit); lover/husband Nick Arnstein, (an underused Ramin Karimloo, despite being given an extra song – apt appearance and wry expression, good voice); and pal, Eddie Ryan (Jared Grimes – solid actor, fine vocals) who has unaccountably been given a lengthy tap number which interrupts everything. (Both dancing and Ayodele Casel’s choreography are terrific.)
Kurt Csolak, Beanie Feldstein (Fanny), Justin Prescot
Still, the musical belongs to its star and Beanie Feldstein is not up to it. No one could duplicate Streisand’s blaze across the Broadway firmament, but why producers would think a genteel film comedienne might handle protean vocal demands is a mystery. Feldstein is often flat and has a thin voice. Her ballads seem to waver from lack of technique, not emotion. “Cornet Man” lacks the nasal jazz tone that added pizzazz. Open-throated, high volume exceptions elicit sympathy ,but mostly lack authority.
Despite experience with comedy in another medium, under the aegis of director Michael Mayer Feldstein goes for the cheap laugh every time, mugging like crazy. Original interpretation manifested Fanny’s defense system and lack of worldliness; Feldstein’s is wink-wink vaudeville making her far less believable. There’s no finesse to timing. Nor, but for some gestures, does physical humor fare much better. Fanny’s attempt at fitting in with a chorus girl routine looks horribly rehearsed. Literally rolling off a couch and across the stage is, at least here, decidedly not funny. Ramin Karimloo gets more mileage out of falling off and leaping back on with understated grace.
Eddie Ryan (Jared Grimes), Jane Lynch (Mrs. Bryce)
Toni Dubuono’s Mrs. Strakosh (Mrs. Bryce’s friend) is warm, funny and believable. Peter Frances James manages to give Florenz Ziegfeld enough apoplectic dignity that when we finally see the flicker of a kind smile, it works.
Director Michael Mayer goes broad in a way that underserves the musical. Whether he’s done so to adapt to casting or because he perceives the show this way doesn’t change an unsatisfying result.
David Zinn’s often overblown (in the wrong way) sets leave us inappropriately often in front of brick buildings on Henry Street in order to mask an opulent home or other locale. This is compounded by excess lighting (rows of theater bulbs, particularly framing the proscenium) by Kevin Adams which flash on and off so often, original intention/impact is lost.
Fanny (Beanie Feldstein) and company
Susan Hilfery’s costumes often look cheap. Her Ziegfeld girls (these outfits fit poorly) are too covered. (Headresses are swell.) Colors chosen for Fanny’s dresses don’t flatter, her apparel after the first Ziegfeld opening makes her look like a sixteen year-old.
This is the sole occasion in my long experience with Broadway musicals that two musical instruments in the orchestra (trombone and trumpet) were noticeably off key.
The audience, it should be noted, are predominantly on Feldstein’s side whether for having paid $500 for an orchestra seat or empathizing with her clear efforts and being miscast.
Photos by Matthew Murphy
Opening: Beanie Feldstein (Fanny Bryce), Ramin Karimloo (Nick Arnstein)
Funny Girl
Music-Jule Styne
Lyrics- Bob Merrill
Book- Isobel Lennart; Revised Book- Harvey Fierstein
Directed by Michael Mayer
August Wilson Theatre
245 West 52nd Street
