Take two, not a moment too early. Lea Michele gets into one of Broadway’s most iconic roles that she was in her mind—or at least the mind of Rachel Berry, the character she played in the TV movie “Glee”—she was destined to play. Damn, she’s right.
Not that the surprisingly uninspired and unproductive “Funny Girl” revival is suddenly turning into an inspired classic. Instead, Michelle gives him what the revival previously lacked: charisma, amazing vocals, and self-assuredness — not to mention a killer fan base. It also had a behind-the-scenes narration that added to the drama following the departure of original star Benny Feldstein, culminating in a coup that many believed should have been Michelle in the first place.
But better late than never in this “Funny Girl 2.0”. It’s a rediscovery of Michele, too.
Older since her “Glee” days – she’s now 36 – the actress brings a welcome maturity to the role of Fanny Price, the part that launched Barbra Streisand into the stratosphere. Michele’s maturity especially helps in the second half of the show, when the actor is able to bring an emotional depth to Fanny that the script lacks.
Her seasoned acting chops (she’s been on Broadway since she was nine) allow her to calibrate Fanny’s mix of raw ambition, need, nerve, and vulnerability. Underneath her bravado, some of Fanny’s fears are rooted in her issues with class, education, and appearance. Obviously, Michelle is a beauty that a wig can’t hide, but we nevertheless fall for the illusion.
But is this “funny girl” funny? While Michele doesn’t skip Steak and jot the text, she makes the most of what I’ve given her cheerfully and without pimping.
What serves the show most is her vocals, which led to the triumph of the first musical trio like “I’m The Greatest Star”, “People” and “Don’t Rain On My Parade”, while letting plenty of musical notes lift the rest of Julie Stein-Bob Merrill’s score. Although difficult to reimagine the songs, Michelle is able to distance herself enough from Streisand’s crafting to take ownership of the material—or at least to become a skilled patron—of the materials.
Fortunately for the producers, Michele also brings in legions of fans, many of whom have jumped on their feet during the singles in a recent show. If the enthusiasm continues, this revival will give an adrenaline shot, not to mention a box office boost. The jolt extends to the entire cast, which looks brighter, crisper, and energetic.
Providing strong support is another welcome addition, Tovah Feldshuh, who brings the role of Fanny’s mother with originality, humor and kick. Ramen Carmelo as fanatic gambler husband Nikki Ernestine stays smooth, sexy, and luminous like a satin bed sheet. There is also a musical chemistry with Michelle, and their vocals, especially in the influential duet “Who Are You Now”, are sublime vocals.
Jared Grimes continues to shine in the click-to-show numbers that earned him a Tony nomination. Martin Moran and Peter Francis James continue their strong role as theater owners Tom Keeney and Ziegfeld, Toni DiBuono and Debra Cardona as poker buddies Mrs. Brice are an evergreen fun.
But even Michelle, Carmelo, and the famous cast can’t save the shrunken second act, which still screams silent film melodrama. Harvey Feerstein’s light review of the script does not resolve fundamental issues with the largely fictional biography of Bryce, who starred in multiple entertainments during the first half of the 20th century, but is now largely remembered by this musical.
The production still looks poorly designed, with a rough outfit and good choreography. But canon of scraps? Proscenium lights intended to elicit audience responses? really?
Beyond all of that is the presence of Fanny who can deliver musical, emotional, and comedic goods – with a behind-the-scenes storyline. With Streisand, it was because a star was born. With Michelle, reborn.
[ad_2]
