author: Steven Kirkpatrick
“Don’t tell me not to fly, I simply got to
If someone takes a spill, it’s me and not you
Who told you you’re allowed to rain on my parade?”
This colorful, surprisingly fresh production of a vintage musical is decidedly worth a trip to The Kennedy Center, where Funny Girl lights up the Opera House, in grand old fashion, through July 14th 2024. A musical comedy-drama, written by Isobel Lennart (book), Jule Styne (music) and Bob Merrill (lyrics), Funny Girl follows the life of Broadway legend Fanny Brice as she negotiates early 20th century stardom and a troubled relationship with gambler Nicky Arnstein.
Brice is often cited as a trailblazer for female comedians, both on stage and on the radio, frequently capitalizing on her Jewish background and homely appearance for laughs, yet she could also sell a torch song, establishing the perennial ballad “My Man” as her own signature tune long before Billie Holiday. Yet perhaps even more than Brice’s actual work, it is this fabled play about her life that is most responsible for keeping Brice’s legacy alive.
Fittingly for a show about stardom, the play’s original 1964 production catapulted then-tyro Barbra Streisand into unprecedented levels of stardom on stage, screen and in the recording studio, earned her an acting Oscar for the 1968 film version, and then began to seem like an almost untouchable, unrevivable “star” property. For decades, Streisand was so identified with the role, so identified with the songs, skeptics wondered whether the play (a standard rag-to-riches-to-heartbreak-to-survivor formula) could ever matter again without its superstar?
Fortunately, nearly 60 years later, the answer is a happy “yes”: the musical biography format (however formulaic) delivers its own narrative pleasures; the attempt to capture the hurly burly glamour of the Ziegfeld Follies-era remains successful; the production values in lighting, set dressing and costumes are exceptional, even for a road tour; the hit musical numbers still deliver their thrill; and the current leading lady, Katerina McCrimmon, manages to make the legendary role her own, particularly by the second act.
As Fanny clowns and elbows her way into fame via the Ziegfeld Follies, McCrimmon is likeable, game and easily earns audience sympathy. She handles the first act’s big solo numbers (“I’m the Greatest Star,” “People,” and “Don’t Rain on My Parade”) ably, if not electrifyingly, allowing us to appreciate not only her singing, but also the careful staging, set dressing, and lighting choices that help craft the buildup to these famous “showstopping” numbers. One might be more “wowed” vocally by a Streisand or a Lea Michelle, but McCrimmon maintains– and builds—a believable character while the production subtly enhances her delivery.
By the second act, with Fanny at the top of her game, but losing husband Nicky (Stephen Mark Lukas), McCrimmon manages to truly inhabit her solo numbers (“The Music That Makes Me Dance”) with a personal power and developed characterization of her very own. At the curtain call, McCrimmon seemed genuinely touched by the ongoing ovation she received from the Kennedy Center audience, yet the actor has earned it.
As Nicky, Stephen Mark Lucas has his work cut out for him: he must play the most charming man ever and then take us on a downward spiral while still being someone that Fanny would fight to keep. Lucas does a masterful job! He nails the comedy in the “You Are Woman, I am Man” duet, and his singing throughout is top notch, especially when he goes for the high notes, and we are spellbound as his character makes questionable choice after questionable choice.
As Fanny’s mother, Melissa Manchester (who rose to fame as a pop singer-songwriter in the 70s and 80s) delivers a nice “Jewish mother” characterization without playing too much into stereotypes. She is extremely believable as a caring woman who supports and maintains faith in her daughter. Would I have liked to see the character have a little more bite? Sure, but her performance is warm, welcome and engaging.
Other standouts in the cast include Izaiah Montaque Harris as Eddie Ryan, tap dancer extraordinaire who guides Fanny through her early years in show business while he pines for her, pure and chastely, from afar. Harris manages to keep the audience entertained through his talent for tap and his rich buttery voice. Also of note are Cindy Chang as Mrs. Meeker and her partner in crime Eileen T’Kaye as Mrs. Strakosh, the best friends of Fanny’s mother who have never mastered the art of playing poker. Walter Coppage turns in a fine performance as the legendary Florenz Ziegfield who can change a career with lift of one of his eyebrows.
Finally, to single out the production team, the lighting design by Kevin Adams seems bolder and more effective than in its Broadway incarnation. The sets have been paired down but are still vibrant and eye-catching. The costume plot by Susan Hilferty is flawless.
It is worth noting that the touring production is at least 10 mins shorter than the Broadway production. It feels tighter and streamlined, if occasionally perhaps a little rushed. I really wanted Katerina McCrimmon as Fanny to take a few breaths once in a while to help make a joke land.
Running Time: Approximately 2 hours and 40 minutes with one intermission
Funny Girl plays through July 14th 2024 in The Opera House of The John F. Kennedy Center for the Performing Arts, 2700 F Street NW, Washington, DC. For tickets call the box office at (202) 467-4600 or purchase them online.
