This well known, and in some cases, beloved musical, “Funny Girl,” brings back such nostalgic memories with its background sets of tenement buildings and stoops of old New York. The Yiddish-isms are a reminder of Fanny Brice as is the aroma of Bubbie’s matzo ball soup wafting through the neighborhood. Of course, it is also the reminder of the great Barbara Streisand with her soaring voice and musical artistry in Iconic songs from the show that made us all kvell (People, Don’t Rain on My Parade, I’m the Greatest Star: 1964 -1967). Her singular talent not only kept the show going but built her a stellar career.
Funny Girl is now at The Ahmanson Theatre running in Los Angeles from April 5 – April 28, 2024. With so much backstory about its fateful run in New York City, the hype for the new Fanny Brice, Katerina McCrimmon, brought out the curious, the lovers of legacy musicals, and the hopeful fans.
Jackson Grove Katerina McCrimmon and Rodney Thompson in the First National Touring Company of Funny Girl. Photo By Matthew Murphy for MurphyMade.
The show began with the sounds of the orchestra pushed to near Heavy Metal decibel levels to press a rush of excitement. Circus-like traveling red and white lights trailed around the proscenium and blasted the senses just to make sure all were awake and would stay that way. Surrounding us was a gaggle of Claqueurs one could count on to stand, to clap and to yell, which gave the distinct feeling of Pavlov’s dog responding as trained, as the show moved through to its’ last “Tada!”
Melissa Manchester and Katerina McCrimmon in the National Tour of Funny Girl. Photo by Matthew Murphy for MurphyMade
As for the performers, the new Fanny Brice, Katerina McCrimmon, it was clear, had a strong vocal instrument and was hell bent on pushing her Broadway belt as far as it would go with nary a nuance nor diminuendo; at some points even appearing shrill. However, Fanny the fast-talking New Yorker, pushes to show the world that she is a star, but never really lets us in enough to feel anything for her. Her singular upward mobility seemed the more important story to tell. This was in opposition to her relationships with family, friends and lover. Her flawed but charming husband Nick Arnstein, played by the 6’2”, attractively waspy looking Stephen Mark Lukas, showed a feel for vocal and acting prowess, enough to finally make the audience feel something for his demise.
Izaiah Montaque Harris in the National Tour of Funny Girl. Photo by Matthew Murphy for MurphyMade.
Some of the characters that stood out for their ease, talent and likeability were Fanny’s charming friend and colleague Eddie Ryan played by the self-effacing, Izaiah Montaque Harris, who was a lovely relief with his relaxed demeanor and terrific tap expertise. The three Yentas, Mrs. Brice, Fanny’s Jewish mother, played by the wonderful Melissa Manchester, came on strong then settled in as the show went on and became a true muensch. Eileen T’Kaye’s Mrs. Strakosh, one of the clear talents of the show with her terrific vocal and acting chops, was delightful, and Mrs. Meeker, played by Cindy Chang, managed to move the story along. These characters entertained with their gossip, kibbitzing and caring for the stardom-fated Fanny. Walter Coppage, as Florenz Ziegfeld, had a James Earl Jones quality; elegant, articulate and formidable. And at the other end of the spectrum was David Foley, Jr. playing the cynical roughhewn Tom Keeney who gave the players something to play off of.
Katerina McCrimmon and Stephen Mark Lukas in the National Tour of Funny Girl. Photo by Matthew Murphy for MurphyMade.
Sets and Costumes by David Zinn and Susan Hilferty were charming and evocative of an earlier simpler time. The cast of dancers were sufficiently capable in this overlong telling. The Co-Sound designers, Brian Ronan and Cody Spencer appeared to be designing for an Arena Show that tended to blast the audience with a wall of sound that left no patience for finesse in between settings of soft to loud. The Lighting Designer, Kevin Adams, gave the feeling of a sunny afternoon, or a chilly evening on a Brooklyn night. But the heavily uninspired and distracting proscenium lights were confined to two or three rows of red, white and blue blinks, runs or blasts of circus lighting that were limited to mechanics, not inspiration.
Stephen Mark Lukas and Company in the National Tour of Funny Girl. Photo by Matthew Murphy for MurphyMade.
All in all, for the uninitiated or curious, it may have been nice to see a live version of this traditional musical which delivers quite a bit of nostalgia. However, there are a few technical nuances that could be the job of Michael Mayer, the Director for not only the Broadway show but this touring production. It would then be representative of our legacy of Broadway theatre and not a local college production; especially as the Ahmanson is usually known for its excellent and artful work.
For more information and to purchase tickets, please visit the Ahmanson Theatre website.
Written by Joanne DiVito for LA Dance Chronicle.
Featured image: First National Touring Company of Funny Girl – Photo By Matthew Murphy for MurphyMade.
