‘Funny Girl’ the Broadway Revival Starring Beanie Feldstein, Ramin Karimloo, Jane Lynch, Jared Grimes
Funny Girl has been successfully presented in the UK’s West End in revival (2016, book by Harvey Fierstein), in Paris, and in regional theater. However, producers have been loathe to consider a full-on Broadway revival until now. This is so for numerous reasons, not the least of which Barbra Streisand, who originated the role as a relatively unknown 21-year-old in 1964, inevitably draws acute comparison with anyone daring to try the part on for size.
Streisand was Fanny Brice in a confluence of personality, genius talent, comedic flair and pure drive. Though she didn’t win the Tony for Best Lead Actress in a Musical (1964 when Funny Girl opened), she won the best actress Oscar for the 1968 film adaptation. It was a satisfying recognition after her tremendous work in making Fanny Brice and Funny Girl legendary. Her connections to the role, and association with the show’s signature songs became inviolate. So it is a good thing that Funny Girl is in play in this revival; perhaps more revivals will come in the near future.
That said it takes a courageous sensibility to attempt to transmogrify the role of the Fanny Brice Ziegfield Follies star away from Streisand’s iconic work, in this first Broadway revival. Kudos go to Beanie Feldstein who stars with Ramin Karimloo, Jared Grimes and Jane Lynch in the Jule Styne (music), Bob Merrill (lyrics), Isobel Lennart (book), Harvey Fierstein (revised book), Funny Girl revival directed by Michael Mayer. Currently, the production runs at the August Wilson Theatre.
Beanie Feldstein has the appropriate determination to portray “the greatest star.” Nevertheless, during specific moments, she appears to be overwhelmed by the complex and profounder transitions the role requires as Fierstein’s book travels in flashback from the opening scene where Fanny gets ready to go onstage. The flashback of her memories follow how she moved from childhood to teen rising star to successful Follies celebrity who becomes an icon in her time. Uncloaked is her first anointing from gambler Nick Arnstein who compliments her on her talent. And as her star rises she becomes worthy of their budding relationship and blossoms, as his star dims and his wealth diminishes. By that time they’ve married.
Feldstein is not new to challenges. She debuted on Broadway as Minnie Fay in Hello Dolly (2017). And she has been appreciated and noted for the humorous Booksmart and Lady Bird, and in her role as Monica Lewinsky in Impeachment: American Crime Story.
In the role of Fanny Brice she is uneven at best, at worst out of her kin, vocal acumen, acting talent, comfort/confidence zone. When she teams up with others (“I’m the Greatest Star” (“Reprise), “His Love Makes Me Beautiful,” “You Are Woman, I Am Man,” “Sadie, Sadie,” “Rat-Tat-Tat-Tat”), she shines with capability and confidence. When she carries the song on her own (“Who Are You Now?” “I’m the Greatest Star,” “People,” “The Music That Makes Me Dance”), she skates on thin ice.
Not fervent with authenticity and the intensity that the role requires with songs like “People” which Fanny sings to convince herself to let go and love Nick Arnstein, who her mother has suggested is a criminal, she isn’t quite believable. However, with the ensemble, Jared Grimes’ wonderful Eddie Ryan and Ramin Karimloo’s suave, alluring Nick Arnstein, Feldstein relaxes and has more fun. Also, with the exuberant Jane Lynch (not necessarily believable as a pushy, Jewish mother), she overcomes herself and more comfortably inhabits the role.
Sometimes Feldstein’s sweet singing went a tad flat momentarily in the first act and became a distraction to the events undergirded in the song. In her attempt to make Fanny Brice her own, certain schtick works if it glimmers, strikes, then vanishes. When it becomes repetitive, the humor loses its “funny.” As such, the youthful Fanny, the bumbling Fanny and the fake pregnant Fanny are clever. She is appropriately, broadly a ham (“His Love Makes Me Beautiful”). As Feldstein takes off on the visual, risque joke, the audience adores it and their adoration sets Fanny off into Fanny Brice stardom, all Beanie believable.
The flashback of the cute, adorable, wide-eyed innocent Fanny, the gutsy star-driven dreamer with heart (“I’m The Greatest Star”), works for a season. When she meets Nick and is with him for a while,, she doesn’t quite transition to charming, sensual, intriguing funny, the lure which entices Nick. Thus, their relationship never moves beyond the girlish Fanny who transforms into the Fanny who is a star that is beyond Nick in success, talent and charm. At some point the “Star is Born” meme should come alive when she exceeds Nick in grace and beauty as a Follies “Great.” Feldstein never quite pulls that off. Nor does she manifest the pain Fanny experiences when Ramin’s Nick and she part ways which leads into the overcomer Fanny who transcends, heartbroken but triumphant.
Karimloo’s Nick is gorgeous, fit, debonair and experienced. This superficial ethos lures Fanny like bread does to fresh water fish. In their scenes and songs (“I Want To Be Seen With You,” “You Are Woman, I Am Man,” “Who Are You Now,” and You’re a Funny Girl” that Nick sings alone), both actor’s make sense of these scenes because Karimloo plays the seducer, the lover, the partner who acts upon her as the receiver. Feldstein doesn’t have to do much but “fall” into his arms and be under his spell. And that is easy to do. The women in the audience are standing in her shoes enamored of Karimloo’s aura and sterling voice.
However, the complications of their marriage, seem static and should be predictable but are not emotional as Feldstein’s Fanny doesn’t register that her relationship is dissipating with Nick after she becomes a “Sadie.” Despite all the lovely set appointments by David Zinn’s scenic design for their Long Island home, the irony is manifest. It is not a home because it lacks warmth as Nick’s concern about money takes over.
Eventually, even Karimloo (who beautifully sings throughout and does a bang-up job in “Temporary Arrangement”), when Nick sings about his going off by himself to make money…has difficulty with latter scenes between himself and Feldstein. When Feldstein’s Fanny attempts to save their marriage by outtricking a trickster, his response to Fanny’s gambit is interesting, if not lackluster. Nick’s reckless gambling has placed him out of Fanny’s status and wealth. Feeling emasculated when his project goes bankrupt, he is driven back to his criminal ways to recoup, which he never can because he lands himself in jail. The urgency between them in the parting scenes right before his prison sentence and after fall flat. We don’t care all that much about her heartbreak because Feldstein’s Fanny doesn’t seem to either by the “Finale.”
The book has been revised by Harvey Fierstein to streamline Act II which is a fine change-up. Fierstein transfers “Who Taught Her Everything She Knows?” sung by Mrs. Brice (Jayne Lynch) and Eddie Ryan (Jared Grimes) to the second act. Both are super conveyors of good will and have a blast together during the number. Indeed, Lynch’s and Grimes’ numbers are noteworthy as they possess the stage with grace, aplomb and enjoyment that the audience appreciates.
Jared Grimes’ tap is non pareil and brings down the house. Grimes is helped by tap choreographer, Ayodele Casel, who also succeeds in creating a number in which Feldstein shines with the ensemble (“Rat-Tat-Tat-Tat”). Overall the choreography by Ellenore Scott is strongest and most fun in the Ziegfeld numbers supported by the extraordinary costumes by Susan Hilferty with her expansively winged butterflies, shimmering chorus (“Rat-Tat-Tat-Tat”), bridal outfit in “His Love Makes Me Beautiful,” and in Fanny Brice’s outfits nearing the end of the production, reflecting the progressing years after the flashback ends. All are enhanced by the lighting design by Kevin Adams and Brian Ronan’s sound design.
If you have not seen the West End revival of Funny Girl in the UK or at a regional theater, this production bears seeing for a number of reasons. Fierstein’s revised book is excellent and gives a lot of play to the characterization of Nick Arnstein. The entire company and the leads’ team work shines. The music is wonderful and the historic figure of Fanny Brice, a woman who made her career at a time when women had power in theater is something to be reminded of. Brice went on to more success in the entertainment industry in later years. Her life is one to remember.
Final mention must be made about the superb musical team. They include Michael Rafter’s music supervision and direction, Chris Walker’s orchestrations, Alan Williams’ dance, vocal and incidental music arrangements, Carmel Dean’s and David Dabbon’s additional arrangements, and Seymour Red Press’s and Kimberlee Wertz’s music coordination.
The show runs with one intermission. For tickets and times go to their website: https://funnygirlonbroadway.com/
Part of the fun of watching Lanford Wilson’s characters in Burn This includes noting their particularity, their measured “normalcy,” their zany, hyped-up incredulity. Concisely directed by Michael Mayer for authenticity and humorous grist, Burn This in its New York City revival drifts, flares up, subsides, then rages. The characters circle each other, collide, implode, retreat with tenuous watchfulness, then boil over, coursing the play to an uplifting conclusion.
What makes this an intricate production is the dynamic of the relationships centered around Anna (Keri Russell) the smooth, sylph-like dancer who evidences a shine for artistic endeavor and the artfulness of restrained love. However, Anna is undone by the haphazard. It comes in the prodigious shape of earthy, sensual Pale (Adam Driver) who like a force-of-nature inflames subterranean passions and blasts her out of her staid romance with Burton (David Furr) and easy routine with gay roommate Larry (Brandon Uranowitz).
After Anna’s one-time sizzling encounter with Pale, unbeknownst to Anna, her elaborately constructed inner psychic protections are shaken to their foundation. Her external “cool” and artistic resolve are broken wide open with the affirmation of life’s most chaotic of emotions which irrevocably will spin her into a relationship with the amazing and sensitive Pale.
At the opening of the play, Larry and Burton reveal their need for the friendship and the attention of the grace-filled and gorgeous dancer, whose nurturing kindnesses and moderate emotional tenor roll up and around marketing whiz Larry, and successful, screenwriter Burton. Anna receives comfort from both men in this expositional scene as they console each other about the loss of Larry’s and Anna’s other roommate, Robbie to an unfortunate accident.
As we listen to Anna and Larry, we understand that Robbie, who was gay, meant a great deal to them. Anna’s anger with Robbie’s family, who refuses to acknowledge that he was gay or that he was a superb dancer (they never saw him dance) spills out in her ironic descriptions of the “relatives,” a Lanford Wilson set up for the next scene and a character revelation of Anna. We understand the easy dynamic among the three. We also note that Anna’s wry comments are her way of coping with Robbie’s loss and indemnifying the narrowness of the family who finds Robbie’s homosexuality unacceptable. The themes of familial rejection and estrangement over gender identity, and emotional disconnectedness with one’s inner feelings are themes that Wilson examines with rigor and truthfulness in Burn This, as he does in his other works.
Keri Russell gives a nuanced and calculated performance in Anna’s scenes with Burton and Larry. In this opening scene, Russell’s Anna modulates her emotions of anger and sorrow as she seeks affectionate relief from lover Burton, and an uplift from the humorous Larry, who comforts with irony and wit.
Larry’s lovably in-your-face gay ironist shares a closeness with Anna garnered during the years he and Robbie roomed with her. The quips and jokes adroitly delivered by Brandon Uranowitz’s Larry snap out and hit the bulls-eye. From his portrayal we understand that Larry speaks from deep within an authentic specificity born out of negotiating his gayness. His timing is excellent. Uranowitz provides the thrum of energy in scenes which, without him, might too readily have slipped away.
The hot-looking screenwriter Burton, a familiar presence in Anna’s and Larry’s NYC loft apartment (the back projection of the rooftops is stunning thanks to Derek McLane’s scenic design) rounds out the easy interplay among the three in the first scene. And as a straight man, Burton provides Larry with joke fodder.
David Furr’s portrayal succinctly conveys an upper level reserve and privilege that sits on the edge of narcissism. But he does retain a a bit of self-effacing humility and for this reason, Furr’s Burton manages to elicit our approval. He knows (perhaps Anna nudges him about this) that he must evolve and become a better “listener.” And for Anna’s sake, Burton reminds her that he is trying.
As two who appear to be the halves of one lovely, perfect whole in the best of all possible worlds, Anna and Burton are the beautiful, artistic, classy, cool couple. Boooorrrring! No wonder Anna is entranced by the strikingly opposite, frenetic, dazzlingly, off-beat Pale, even if he is as high as a cloud on cocaine and whatever else the restaurant manager has plied himself with. Though Anna has encountered Pale who “saves her” from pinned butterflies at his relative’s house after the funeral (you’ll have to see the play to understand the symbolism of this) “he” doesn’t register on her psyche. When he shows up to collect his brother Robbie’s “stuff” at the loft, Anna cannot help but “take him all in!”
Adam Driver’s Pale explodes onto the stage in the second scene. Russell’s Anna never recovers. Neither do we. And that is one of the major thrusts of Mayer’s Burn This. Anna is so swept off her feet (as are most of the men and women in the audience) into the exuberance and thrall of his electric and fiery presence (he has a toaster oven in his belly), she doesn’t know what’s happening. Russell’s portrayal shifts; the nuance mediates then gyrates in the direction of surprise, disbelief and unrestrained engagement. Her gradual evolution as an individual morphs from this point. Wilson’s first scene with Anna, Larry and Burton provides the markers from which we measure her change from then on.
As Pale, Driver’s completely unaffected randomness and moment-to-moment outrageousness are jaw-dropping, in a funny, fabulous way. His unpredictability is life itself. Driver’s emotional portrayal lives onstage with sustained exuberance. Indeed, he resonates like a tuning fork. The magnificence of the vibrating sound thrums deep in our souls and hearts. His presence clarifies a message we need to follow. Be real if you find someone who moves you! (even on cocaine)
Is there such a thing as “love at first sight?” With regard to Anna and Pale, “sight” is the wrong word; perhaps “second sight,” is appropriate. Driver’s Pale is awesome; and Driver as Pale is starkly lovable. The irony is that externally, he cannot hold a candle to Burton. And that is the poetic Lanford Wilson’s second thrust which Michael Mayer’s direction relates with profound realism. Love is ineffable, perhaps irrevocable. It is as blind as the faith required to experience it, especially when you stumble in the darkness unprepared, then crash into it head-on!
After their intimacy Anna and Pale hunger for each other though they remain apart. But no matter. Pale is Anna’s spiritual counterpart, and she is his. Such a bond is not only chemical, it is profoundly healing and revolutionary.
How does Wilson engineer the redemption of these characters who remain separated, even estranged? Larry provides the gateway, manifesting another of Wilson’s themes. Friends (regardless of their gender and sometimes because of it) love and encourage without jealousy or fear of loss. Though this theme seems as obvious as climate change, sadly in the currency of our time, there are the “disbelieving” who find it anathema.
Pale’s and Anna’s love and passion lift them beyond stasis, represented by Burton and Pale’s wife. Their tie seems other worldly, layered with truth and forgiveness. As a result, Pale acknowledges the lost years of his life as he confesses his frailties to Anna and the regrets he has amassed during his failed marriage and fatherhood.
For Russell’s Anna this love has encouraged her artistry onto a different pathway. She has entered into a new becoming. Unrecognizable to herself, unable to contain her emotional kindling fired up by Pale, she acknowledges the inner conflagration, a condition which she has never experienced with Burton. Pale acknowledges he, too, is completely overwhelmed. We understand this is a hard realization for both of them, a glorious disconnect/connect that will continue its wending way however it will. In the play’s last moments, Anna slips into Pale’s arms and life. He reassures her with love endearments, that only someone like Pale can express, and “cries all over her hair.”
Lanford Wilson’s characterization of New York City roommates’ gender diversity, and his themes about the ineffable qualities of love and generosity of friendship was revelatory in 1987, the setting of the play. Mayer’s production with the illimitable Driver, measured, blossoming Russell, with assists from Uranowitz and Furr is equally revelatory for us today. The themes of love, acceptance, the possibility of redemption and growth in this era of Trumpism are vital. They encourage us to retain the social advancements we’ve achieved and to embrace our humanity and decency through the power of non judgmental love and self-forgiveness.
Mayer and the actors and artistic creatives take this startling, understated, emotionally sonorous and uplifting play and make it a resounding success that you do not want to miss, especially for the laughter, the hope and the performances.
Special Kudos go to Derek McLane for scenic design, Clint Ramos, costumes, Natasha Katz for lighting design and David Van Tieghem’s sound design.
Burn This runs with one intermission at the Hudson Theatre (141 W 44th between 6th and 7th) in a limited engagement until Sunday, 14 July. For tickets go to their website by CLICKING HERE.