Broadway’s “Funny Girl” feels like a series of rigorously executed set-pieces rather than flowing story, with a main couple that feels beached and static, writes TimTeeman
at the performance this critic attended. The air as the audience took its seats had that big-night Broadway fizziness to it. There was plentiful applause through the show , and cheers for Beanie Feldstein, who plays Fanny Brice, alongside Ramin Karimloo as Nick Arnstein, Jane Lynch, who plays Fanny’s mother, and Jared Grimes, a show standout for his sparkling tap routines as Eddie, Fanny’s best buddy and romantic-partner-that-never-is.
Appositely, a bizarrely designed set houses this puzzle of a show. Two sets of stairs on either side of the stage are supposed to signify Henry Street, the neighborhood where Fanny is from, as well as the stairs of the theater where she performs. In the middle of the stage is a doom-emitting brick tower, which must be another building on Henry Street but instead looks like it may hide machine gun snipers.
Fanny wants fame but not as much as she wants her marriage to work, making it clear right to the end she would give up the stage if she has to. But this doesn’t square with her desire to act, perform, or that life she so fervently wants. Yes, she can and should contain multitudes, but the musical never makes it clear how.
The show feels like a series of rigorously executed set-pieces—with this person going there and that person going here,—rather than flowing story. Its best scenes showcase Feldstein and Karimloo’s lively combined comic energy, most visible in a nervous energy-filled dinner scene when he somehow flips from floor to sofa, and when they beautifully sing “You Are Woman, I Am Man” .Nick is not a crook, just weak; Fanny is not an overbearing partner, just loyal.
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