When FUNNY GIRL opened on Broadway it was a smash hit in 1964 and would jettison the career of Barbra Streisand. It became a staple on repertory companies, regional and community theatres and summer stock. But the looming memory of Streisand's iconic performance on stage and then on screen seemed to have destined the show to be unproduceable without a genuine triple threat actress who could sing, act, AND be a comedian par excellence. It took almost 60 years for a Broadway revival to occur, and poor Beanie Feldstein was not up to the leading lady task, being replaced with the much more appropriate star Lea Michele. Once again, the tale of Fanny Brice had resurfaced and the often comedic, often dark musical comedy has been re-introduced to audiences who can look at the piece without Streisand's interpretation burned into our memory.
The Shaw Festival in Niagara on the Lake has programmed FUNNY GIRL as their large scale musical offering on the stage of the Festival Theatre. The result as a whole is satisfying and deeply moving, with a strong emphasis on the darker side of the Vaudeville star Fanny Brice's rise to fame, despite her unglamorous visage. Brice found her comedy based in self degradation, alongside a private life beleaguered by a fractured romance. Brice refused to lay any of the blame for her failed marriage on her husband Nick Arnstein. When comedy didn't solve her relationship issues, Brice used her limited education as a crutch, being self proclaimed "dumb." despite being very wise.
With a spectacular score by Jule Styne and Lyrics by Bob Merrill, the show always delivers on the musical front. The comedic numbers, production extravaganzas and heart breaking ballads effortlessly blend with the book by Isobel Lennart. In it's heyday FUNNY GIRL would be billed as a musical comedy, and the darker themes of gambling and divorce were played down. Lennart's book has received much criticism over the years, but Director Eda Holmes achieves a fine balance of the broad comedy of the Ziegfeld Follies stage with the tortured off stage life of Brice being married to a professional gambler and con man. Despite Arnstein's personal ruin, Brice would have stuck with him, but a happy ending was not in the cards.
Sara Farb is Fanny Brice, and her slight figure and large grin are full of energy and goofiness that the part requires. She puts her own spin on her showstopper, "I'm The Greatest Star" without requiring histrionic gimmicks. Her plaintive rendition of the show's most famous song "People" was plaintively sung and spot on. But the score did not always fit like a glove, as some of the beltier numbers like "Coronet Man" and "Don't Rain On My Parade" found Farb at her most vulnerable vocally. Happily, as the the magnificent Act 2 ballads began to roll, Farb captivated singing "Who Are You Now" and "The Music That Makes Me Dance." Farb brought terrific dimension to the book scenes, whether being raucously outspoken with Ziegfeld, naively love struck with Arnstein, or heartbroken when she realizes she can't mend a broken relationship. The transition from a wide eyed teen to mega star adult was deftly handled by Farb.
Qasim Khan oozed handsome sophistication as Nick Arnstein, making it easy to see why Fanny falls head over heels for him. Khan brings a firm take on Arnstein's bravado and desire for power, making his eventual downfall palpable to the audience. His light voiced tenor was not always as powerful as his persona, as his "You Are Woman, I am Man" yearned for a bigger testosterone sounding boom.
Fanny's dance instructor and career guider is Eddie Ryan, played by the wonderfully nimble Matt Alfano. Despite his attempts to woo Fanny, she shows no interest in romance. Alfano sails through his dance numbers, whether soft shoe or tap with a dancer's agility and finesse. Patty Jamieson plays Fanny's mother, and lands some great one liners. Her trio with Alfano and Janelle Cooper as the sassy kibitzing Mrs. Strakosh was a highlight, as they are try to find romance for Mrs. Brice in "Find Yourself A Man."
Damien Atkins brought a calm but often comedic take on the stentorian role of Broadway producer Florenz Ziegfeld, the man who gave Brice her start. Atkins' controlled anger made it utterly believable how Brice could have given him an ulcer with all of her antics.
The large ensemble is first rate, shining in the large Ziegfild production numbers. Act II's "Rat -Tat-Tat- Tat" was spectacular as they tapped and swung gold rifles deftly. The vocal sound was superb, notably in the rollicking "Henry Street" and "Sadie, Sadie." Tenor soloist Taurian Teelucksingh got his moment to shine with some ringing tones during bridal parade number "His Love Makes Me Beautiful."
Choreography by Parker Esse ticked all the right boxes, from vaudevillian camp to Busby Berkeley inspired spectacles. His creativity in "Rat-Tat-Tat-Tat" put his own signature on American inspired goodness mixed with some borscht belt humor.
James Lavoie has designed the entire production, which requires many scene changes. Thanks to turntables, cascading drapes and rolling stair cases all framed by a large metallic proscenium, the action flowed effortlessly. The technicolor palate of the on stage production numbers was finely balanced with the work-a-day outfits of society off of the stage. Corey MacFadyen and Kaitlyn MacKinnon's Lighting Design was often cinematic and dazzling when needed.
Music Director Paul Sportelli led the fine orchestra with finesse, although less amplification would have been appreciated during the overture. Styne's tunes are dramatic orchestrated and the players could have shone on their own without the need for the entire group to be fully amplified.
FUNNY GIRL will always be a star vehicle, beside others like MAME, HELLO, DOLLY!, GYPSY and EVITA. These larger than life characters rarely have conventional lives and demand unconventional performances. Fanny Brice was indeed a superstar in her day, and a look back at her own unconventional rise to stardom with an unlikely husband continues to intrigue and entertain. Under the expert direction of Holmes, the Shaw Festival's production is wistful memory play that upon deeper reflection, makes FUNNY GIRL a grand musical tragedy for a very funny lady.
FUNNY GIRL plays at the Shaw Festival in Niagara on the Lake through October 3, 2026. Contact shawfest.com for more information.
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