Katerina McCrimmon and Stephen Mark Lukas in the National Tour of “Funny Girl.” Photo by Matthew Murphy for MurphyMade.
As luck would have it, on the evening of the presidential debate, I was comfortably seated in the Kennedy Center Opera House enjoying the Broadway revival of “Funny Girl” starring Katerina McCrimmon. The audience in the packed house seemed to heartily agree. Who says theatre is dying, and not just musicals. Last week I attended a sold-out performance of “Top Dog/Underdog” by Suzan Lori Parks at Round House Theatre, which had been extended for an additional two weeks. When life goes to the Dark Side, where better to seek light than the theatre? We need to breathe, think, and feel in a communal space with other thinking, feeling human beings. This evening, I saw a cast of people at the top of their game in this production directed by Michael Mayer and choreographed by Ellenore Scott. Special mention goes to Izaiah Montaque Harris for the beautiful tap dancing in the role of Eddie Ryan and Tap Choreographer Ayodele Casel.
…a cast of people at the top of their game…McCrimmon is phenomenal…
The real Fanny Brice, the inspiration for “Funny Girl,” was born to Jewish parents and grew up in Brooklyn, NY. At age 15, she made her stage debut in Frank Keeney’s vaudeville theatre where she was a huge hit. Four years later, Florenz Ziegfeld contracted here for his 1910 “Follies,” where she soon became Broadway’s highest-earning star. A barrier-breaking comedienne, her career was instrumental to the future of women in comedy. Brice introduced a working-class sensibility to the ostentatious beauty of Ziegfeld’s pageants, depicted in the number “His Love Makes Me Beautiful,” intended to be an anthem to the iconic beautiful bride dressed all in white. Fanny destroys this image—and risks her career—by going on stage as an unabashed, very pregnant bride, to the delight of both audiences and Mr. Ziegfeld.
Enter Nick Arnstein (Stephen Mark Lukas), the sophisticated gambler who falls in love with the sassy Fanny, a “not pretty” woman who never got beyond third grade in school. Nick is a Gatsby-like charmer whom Fanny cannot help but love desperately. Every step of their relationship is a dance led by Fanny, until Nick is arrested for embezzling funds invested in one of his get-rich-quick schemes. Even when he is released from prison after three years, Fanny is ready to take him back and has a plan to repair the marriage, but Nick is too weak to take one more roll of these dice.
The book, originally written by Isobel Lennart—who gained acclaim for introducing a funny female Jewish character to the Broadway stage—and revised by Harvey Fierstein, remains thin. Fast-paced and filled with famous songs, supporting characters appear as underdeveloped plot devices. Nick’s financial problems at first are easily resolved with Fanny’s cash, and his attempt at revealing strength of character by refusing a Fanny-arranged job offer comes off as hard to believe. Melissa Manchester, the Grammy Award-winning singer/songwriter is warm, wise, and funny as Fanny’s mother.
On stage and singing for almost the entire duration of the show, McCrimmon is phenomenal in the challenging role of Fanny Brice. Blending great vocal range with the occasional growl, her performance of “Don’t Rain on My Parade” is a theatrical moment not to be missed. McCrimmon is a rising star who held the audience in rapt attention not only through song, but in her intimate scenes with Nick. Collective gasps could be heard at several lines of dialogue when Nick or Fanny revealed a hidden truth. “Funny Girl” is so much more than funny—it is heartfelt.
Costume design by Susan Hilferty show’s Fanny’s progression from Brooklyn bloomers to Monte Carlo satins to the elegant suits she wears when leaving her Long Island mansion for New York City. Nick Arnestein’s suits are wonderfully styled and accentuate his rakish character. The scenic design by David Zinn beautifully evokes the Henry Street neighborhood of Fanny’s childhood to the brick-walled backstage of the Ziefgeld Follies. Set changes move so quickly, we are as overwhelmed as Fanny to be suddenly surrounded by the luxury of Nick’s apartment with velvet chaise lounge. Early in Act 2, sensing she is losing Nick, Fanny is seated before a large cut out of the moon—it is the only time this huge personality looks small.
Running Time: Two hours and 40 minutes with one 15-minute intermission.
Advisory: Recommended for age 10 and up.
“Funny Girl” runs through July 14, 2024 at the Kennedy Center Opera House, 2700 F St NW, Washington, DC 20566. For more information and to purchase tickets, go in person to the Box Office (Hall of States): 10 a.m.–9 p.m., Mon.–Sat.; noon–9 p.m.. Sun. & holidays. (Two hours free parking with validation from the ticket office), call 202.467.4600 every day from 10 a.m. to 6 p.m., or go online.
