"Funny Girl", 31/5/17, King's Theatre Glasgow

Written for Backstage Pass:

http://www.backstagepass.biz/2017/06/theatre-review-funny-girl-kings-theatre.html

The iconic musical Funny Girl makes its way around the UK for the first time in a classy, stylish production telling the real life story of Follie-girl Fanny Brice - whose comedic and vocal talents enabled her to rise to fame despite her unconventional appearance - and her unsettled relationship with professional gambler Nick Arnstein. Hitting the heights of success and enduring the ruin of her marriage the life of Fanny Brice has all the hallmarks of triumphant tragedy and this production hits all the right spots effortlessly.

Harvey Fierstein has reworked Isobel Lennart's book, though his efforts have done little to correct the flaws inherent in the libretto, with most characters still little more than two-dimensional figures who orbit around the central role of Fanny, but such flaws are barely noticeable when the lead actress is as strong as Natasha J Barnes certainly is. 

The iconic musical score, containing the famous 'People' and 'Don't Rain On My Parade', has been slightly altered from the original Broadway production in an attempt to improve the balance between Nick and Fanny although these alterations are not always successful. Jule Styne's music, however, remains powerfully stirring as do Bob Merrill's lyrics more than 50 years later.

Michael Mayer's direction is simple, clean and luminous and the choreography by Lynne Page is equally uncluttered and purposeful. The design is spare and elegant though a rather ugly border, complete with neon trim, has been pointlessly added but this is fortunately all but hidden in the King's theatre.  The musical direction is first rate and the orchestra performs the score vigorously.

Funny Girl fails or succeeds depending on the quality of its cast and this cast rises amiably to all challenges with a dynamic ensemble that produce a sustained energy and fluidity throughout the show. There are some brilliant and funny performances from Mrs Brice (Rachel Izen) and her cohorts including Mrs Strakosh (Myra Sands) and the Eddie of Joshua Lay is equally entertaining. Darius Campbell reprises his role as Nick Arnstein and elevates the part into something more memorable than is written. His strong voice, his physical presence and stillness combine to make the most out of an inadequately written part whilst adding sterling support as an arresting leading man to the primary role of Fanny Brice, shared on tour between Sheridan Smith and Natasha J Barnes (who famously rose from understudy to share the role with Smith in London). Barnes assumes the role for the Glasgow run and for those who may be disappointed not to see Smith; worry not for Barnes is beyond superb and surpasses all expectations: her acting is tender, rich, dynamic, varied and ultimately heartbreaking. Her honest, raw performance connects with the audience and follows through into her singing where her vocal abilities are displayed to astounding success. Her voice is malleable, full-bodied and assured and she remains in complete control from start to finish. Barnes has an innate charm which radiates beyond the footlights and she really is the greatest star on that stage and was visibly moved by the deserved standing ovation she received. 

Funny Girl is a beautiful, entertaining and moving production, nourished with an outstanding musical score and cast. It's also lucky enough to have a stellar lead actress with astonishing acting and vocal talents in the unforgettable Natasha J Barnes who radiates that factor known as 'star quality'. If a star was indeed born in London then that star is now burning brightly on tour in this stunning production.

"Funny Girl", Edinburgh Playhouse, 18/4/17

After a controversial season in London's West End, the Menier Chocolate Factory production of "Funny Girl" has hit the road for a tour of the UK, which I believe is the first (correct me if I'm wrong). The bio-musical is iconic as being the musical that propelled Barbra Streisand into super-stardom with her superlative recordings of the numbers and Oscar-winning performance in the movie version helping to define the musical as one of the most dangerous for any producer to stage, given that Streisand's shadow looms vast over the musical.

I previously saw the West End production and wrote about it here. I also recorded my first attempt at viewing the show when I was fated to attend that performance and that can be viewed here.

I hadn't expected Sheridan Smith to be part of the tour when I booked my ticket but, as it turns out, it was announced that she would share the role with Natasha J. Barnes who famously stepped in to the role following Smith's troubles. Smith, it was announced, would play Edinburgh. I won't lie, but my heart sank a little. Still, I decided to go in with an open mind and with a view to enjoy the show as much as possible. It was later announced that Darius Campbell, who was not scheduled for the venues where Smith was to perform, would now take on his West End role in Edinburgh (this may be as the actor is a Scot and Edinburgh would have been the only Scottish date he would not have done) and while I was quite happy to see another performer's take on the role (in this case it was originally announced that Chris Peluso was to star alongside Smith) it was not an unwelcome announcement.

The production started late, which is something that continually annoys me - if the ticket says a 7.30pm start then that is when it should start. No doubt late-comers were the usual culprit and I am all for closing the doors and refusing entry to those who cannot be bothered to take their seats before the announced curtain up time, whether it be through laziness on their part (I'm sure some people think it's like going to the cinema where there will be half an hour of trailers) or whatever. I totally understand there are events which one cannot control but a line has to be drawn somewhere.

Anyway ...

The production has undergone only minor changes between its run in the West End and the new tour and these are for practical purposes - in London travelators were used and these are replaced on tour by amended choreography and by the use of trucks to move set pieces. That and the ol' manual labour. The set is now also framed by a large border created to fill out the size of the set on the various stages on the tour. Unfortunately this border is rather blandly ugly and doesn't feel a natural part of the set. The background of the train station in the act I finale is also changed as the original West End version replicated the art deco styling of the Savoy theatre but, for whatever reason, it was decided not to duplicate this on tour.

It appears that the orchestra is pretty much the same size as that used in London but, surprisingly, the sound they produce is fuller and richer than was heard at the Savoy. Whether this is through the sound design or the acoustics of the Edinburgh Playhouse, I do not know. But the music sounded great.

In fact, much of the production looks more at ease in this touring production. Where the Savoy production looked a little cramped at times, here it allowed to breathe. Of course, this may change depending on the venue, but in Edinburgh at least it worked better.

The cast are as dynamic and as strong as that which featured in London and there are a number of stand out performances including the Mrs Brice of Rachel Izen, whose delivery is underplayed yet striking; Martin Callaghan's Mr Keeney, whose warmth and comedic timing is top notch and the Eddie of Joshua Lay, who is physically quite different to London's Eddie but is equally as adept vocally and choreographically. The relationship with Fanny is perhaps not so natural as it could be but this is perhaps due to the physical differences.

Darius Campbell's Nick Arnstein is better than ever and his deep, rich voice is stirring and one of the strongest in the production. His physical dominance is perfect for the role and he is equally at home with the odd comedic line as he is with the dramatic arc of Nick's fall from grace.

Shouldering the burden of the show is Sheridan Smith as Fanny Brice, the 'Funny Girl' of the title. Smith is markedly better than she was in London and her performance is composed less of the mugging that she was guilty of previously and she relies more on an honest, emotional take and the physical attributes of Brice's comedy. Here she is far more in control than I previously witnessed and is thus much more successful in her dramatic execution. Her vocals still remain her weak spot and her voice audible declines in strength and power as the show progresses, many crescendos passing by unmarked by Smith though her innate charm and warmth wins the audience over. I still think her solo songs should be lowered for her but if Smith were to undertake some serious vocal lessons to improve her technique and her breathing then this could be a most stunning portrayal. But as it is ... 

That said, Smith continues to win raves from other reviewers and the audience (no doubt familiar to her via her many television performances) but I simply cannot detach one aspect from the whole when there are less famous persons who would be crucified for the same lesser skill levels.

The direction and choreography work well though the revised book continues to make little difference to the musical. Jule Styne's music remains some of the strongest and is served well throughout. The added songs, again, add only minor improvements to the story-telling and the reworking of 'Who Are You Now' into a duet still irks somewhat, though giving Fanny and Nick an emotional duet is nice.

All in all the touring production, and its leading lady, is a sterling production of equal quality to the London production with some aspects even improved.

"Funny Girl", Savoy Theatre, London, 28/7/16

Second time around.

I'll admit, given my first experience with Sheridan Smith in the role, I was kind of hoping her understudy, Natasha J Barnes, would be on (she now shares the role with Smith who, for some reason, is unable to perform eight shows a week) especially given the raves she received when she filled in for a few months when Smith took leave (in fact the reviews were better for Barnes than Smith). As it happened, Smith was on. I had my fingers crossed she would, at least, get through the first act but otherwise left expectations at the door. As it turned out she completed the entire show. Just.

This production transferred from the Menier Chocolate Factory and was reworked in certain regards when it reached the West End stage - the design was enlarged and dance sequences were expanded. With a revised book by Harvey Fierstein (original by Isobel Lennart), Music by Jule Styne and lyrics by Bob Merrill the musical contains some iconic numbers including 'People' and 'Don't Rain On My Parade' and originally starred Barbra Streisand who has been intrinsically linked with the show ever since. It is, perhaps, because of this fact that a revival has yet to appear on Broadway and has only now materialised in the West End of London. Smith's profile and following was clearly enough to give the producers confidence in transferring to the West End (a confidence that must have been shaken following recent events) and, if nothing else, this production does indicate that "Funny Girl" need not rely on Streisand to sell it. It does, however, require a comedic actress with strong vocal gifts to lead the production. More on that later.

The production itself is relatively simple - not surprising given where it started - and doesn't have a massive chorus or orchestra. The simple production design by Michael Pavelka has some lovely elements including mirrors which are used evocatively. My only real qualm is with the backdrop which shows the auditorium of what appears to be a grand opera house, rather than a Broadway theatre fitting for the Zeigfield Follies back in the day. Travelators are used to effect throughout but this is the extent of the most technical aspects of the show (which makes the previous cancellation due to 'technical difficulties' harder to believe). Mark Henderson's unobtrusive lighting fits easily into the simplicity of the production as do the costumes of Matthew Wright.

Lynne Page's choreography is likewise relatively simple yet effective and the direction by Michael Mayer serves the show well, especially his use of Pavelka's mirrors which reflect the idea that the story is actually told in flashback.

The orchestra, which actually contains a string section, may be a touch thin on the ground but the sound they produce is quite impressive and the musical direction is confident, although 'Who Are You Now' (which in this production becomes an entirely pointless duet between 'Fanny' and 'Nick') and 'The Music That Makes Me Dance' are performed at such a tempo as to make their emotional content weak and ineffective.

The company are really excellent and contain numerous stand-out performances, from Marilyn Cutts, Valda Aviks and Gay Soper as 'Mrs. Brice' and her friends to Bruce Montague as 'Florenz Zeigfeld' who is both commanding and tender. But Joel Montague as 'Eddie Ryan' is a revelation. He dances and sings strongly, creating a character of real dimension and one the audience can empathise with. Darius Campbell as 'Nick Arnstein' cuts a striking and dashing figure and his vocals are as strong as he is still. It is this stillness which creates a dramatic contrast to the hyper-active 'Fanny Brice' of Sheridan Smith. Indeed, Smith's 'Fanny' is quite chaotic and one is not always convinced this is part of the performance. There are several occasions throughout the show where it seems Smith is veering on the edge and this sense of uncertainty and danger is one that can make an audience uneasy. Based on what I witnessed of her performance previously, this time around she is certainly more assured and confident, her diction clearer and her voice stronger (and more in tune), but she still relies too heavily on one or two vocal tricks and facial expressions, which actually become predictable throughout the show, to really make her performance entirely believable. She is indeed funny at times, even affecting, but there are too many points in the production where she is seemingly almost out of control. Her voice is not strong enough to handle the demanding score and in the bigger numbers it was very clear when Smith was gearing up to hit a note and I wonder why some of the numbers' keys were not lowered (this would certainly have aided Smith greatly). Whilst she managed to hit virtually all the notes, the sound that came out often sounded shrill, strained and thin and I found myself thinking of many a mediocre karaoke singer singing those same songs in bars around the world. The fact that Smith visibly broke character to celebrate her getting through 'People' is also not a great indicator. With all that said, Smith can be a moving actress and she does often find little moments to really show her talent. It's just a shame this is inconsistent.

But the show works, even if the revised book is not as successful as one would hope (the second act appears to need more work whilst the first wouldn't be harmed by a little trimming), and this production shows that the ghost of Streisand need not deter producers and directors from staging the show more often. It does show that a strong lead is required, however, and that lead need not be a famous name.

The show has announced a UK tour which is to commence in the new year and I only hope that the producers take these facts into consideration when casting 'Fanny'. Given the reviews she received, they could do worse than cast Natasha J Barnes in the role. At least then I'd get to see her in the part.

Half an hour with "Funny Girl", 28/4/16, Savoy Theatre, London

Following its sold out (in 90 minutes!) run at the Menier Chocolate Factory, "Funny Girl" transferred to the West End's Savoy Theatre in a slightly expanded production. Starring Sheridan Smith, whose name is emblazoned above the title on every advertising board going, the West End production is also very nearly sold out.

Booking a ticket early was essential and this was done last November (the transfer was announced before the Menier run had actually begun) so the wait was a long one. But, only one week following its opening night, the day finally came. Much preparation and cost had gone into seeing the first revival since the original London production back in the 1960s which was the sole purpose of our visit to London. We had to finance the cost of travel to and from London, accommodation for the night whilst there and, of course, the tickets themselves. I absolutely refuse to pay "premium" prices since the very idea is nothing less than a con by money-hungry producers. None the less the cost was not cheap!

So it was we got into London with enough time to check into our hotel and grab a bite to eat before we headed off to the Savoy.

Let me say now that the theatre staff were far more welcoming to us than they had been a year before when we visited the same theatre to see the revival of "Gypsy".

It was interesting to see the variety of merchandise available for the show - t-shirts, mugs, umbrellas, bags etc. Yet "Funny Girl" still had no souvenir brochure on offer!

We settled into our dress circle seats with a great view of the stage with much anticipation.

The lights dimmed and the 13-player orchestra (complete with strings!) struck up with the Overture. The presence of the strings was most welcome, even if the sound remained a little thin.

Smith appeared as "Fanny Brice" and the show started proper. Smith gave Brice a pronounced Bronx accent which appeared to limit her diction somewhat with quite a number of words muffled. This accent also seemed to interfere with her singing which was curt and not always in tune. For certain the final note of "The Greatest Star" was off, yet quite flawless in the brief reprise that soon followed. Smith was certainly amusing in the role, although not outright hilarious, and she was given to acting more like a desperate idiot out for attention (even being rather sexual with some of the male dancers - let's be frank; she was groping their crotches!) rather than a natural comedienne letting her talent speak for her. Given I was not a natural fan of Smith (unlike many I had come for the show) I was actually starting to warm to her and, flaws and all, she was certainly proving that "Funny Girl" need not rely on the spectre of Barbra Streisand.    

The rest of the cast were quite ebullient in their roles but we were sadly given little time to appreciate them as, following Fanny's stage debut with the "Cornet Man" number (another somewhat slogged performance from Smith), immediately following Fanny's introduction to "Nick Arnstein" (a dashing Darius Campbell) and her singing of the twiddly "Nicky Arnstein" lines when the stage was emptied (apparently a simple exit as per usual) when the show suddenly stopped. There was a dead stage for a minute before an announcement was made over the speakers: A technical issue had prompted a brief delay. The safety curtain was lowered.

After 10 minutes or so the front of house manager made an announcement that the delay was taking longer than expected so patrons were free to use the lavatories and bars. 

Audience members became restless not long after and there were some confrontations with the front of house staff. Some irate man was shouting at the young woman at the coat check/merchandise stand. Approximately 30 minutes later the dreaded announcement was made that due to "Technical Difficulties" the show had to be cancelled. This was greeted by boos and jeers from various factions in the audience, some of whom shouted "no! no!" when the front of house manager advised that the box office should be contacted the following day for refunds as it had been closed for the evening. His brief speech was previously interrupted by noisy, talkative audience members which prompted other patrons to shout at them to "shut up!" so the f-o-h manager could be heard. 

Frankly it was bordering on chaos, but the Savoy Theatre staff were nothing but courteous and as helpful as their limited information allowed.

Given the apparent technical naivety of the production it was instantly puzzling as to what technical problem could have caused such an issue as to prompt the show's cancellation. Almost immediately rumours began circling that the issue was perhaps more to do with Smith herself and the media soon started commenting on these rumours.

It is unfortunate that the producers have allowed the very vague term "technical difficulties" to persist when a more exact explanation might have put paid to the rumours before they started.

It is, of course, greatly disappointing when a show is cancelled only half an hour into a performance as it's too short a notice in order to make other plans. It is also annoying when such efforts and costs have gone into a trip whose sole purpose was to visit the production. 

That said, it is always possible that technical issues can happen. Likewise it is always possible that a headlining star may have to pull out of a performance due to illness or other unforeseen circumstances (as was the case in the ENO's production of "Sunset Boulevard" that starred Glenn Close) and people are only human, after all.

I'd like to think that the rumours about Smith are only that and nothing more and that it was indeed a technical issue - whatever that may be - that prompted the unfortunate cancellation.

What adds salt to the wound is that some ticket vendors have been rather unhelpful in assisting affected audience members in obtaining refunds or exchanging the tickets (and given the limited number of tickets remaining this is an anxious issue for some) to the point where telephone lines have been extinguished.

A most unpleasant experience all told.

UPDATE 2/5/16:
There have been reports in the press regarding the alleged behaviour of Sheridan Smith at this particular performance and, if they were found to be true (which could possibly be substantiated by the various reports Stage Managers and Company Managers keep), it would prove to be a most upsetting turn of events. I can forgive a true "technical difficulty" but if a "star" is being disrespectful not only to her fellow cast members but also to the orchestra, crew and theatre staff - not to mention the PAYING AUDIENCE - then it is deeply disturbing and I sincerely believe that the producers, if the reports are indeed true, have a duty to provide every audience member with compensation.
It was bad enough trying to deal with the ticket vendors (in this case Ambassador Theatre Group) whose procedures and staff made the process a vexing experience and also a time consuming one.