‘FUNNY GIRL’: Lea Michele & Ramin Karimloo. Photo: Matthew Murphy.

FUNNY GIRL
Book by Isobel Lennart
Revised by Harvey Fierstein
Music by Jule Styne
Lyrics by Bob Merrill
Directed by Michael Mayer
Through September 3, 2023
August Wilson Theatre
245 West 52nd Street
(877-250-2929), funnygirlonbroadway.com

By David NouNou

What a difference a leading lady makes.

From the ridiculous (absurdly miscast) Beanie Feldstein, to the sublime, Lea Michele, Funny Girl has finally received the sensational revival it has always deserved. After the electrifying overture (one of Broadway’s best), and the curtain went up on Beanie Feldstein last year, tedium set in from the onset. Last night, after the electrifying overture and the curtain went up, electricity started crossing the stage in the form of Lea Michele.

The book centers on Brooklyn-born Fanny Brice (Lea Michele) who although wasn’t pretty like a Miss Atlantic City, broke into showbusiness through sheer grit, determination and raw talent. She started in vaudeville at Keeney’s Theatre, where she meets gambler/con artist Nicky Arnstein (Ramin Karimloo), works her way up to be in the Ziegfeld Follies, gets to serenade Nick singing “People,” leaves the Follies to be with Nick, which brings us to the end of Act I and the immortal “Don’t Rain on My Parade”.

It is in Act II where the book becomes mawkish. As Fanny’s stock goes up, Nicky’s goes down. She makes the money; he gets wiped out and ultimately gets thrown in jail for three years for embezzlement. Eventually comes the parting of the ways. With Ms. Feldstein, the second act book was very weak. However, when you have an electrifying Fanny, the flaws of the book were not as noticeable. The score has always been sublime. Whether written as ballads, torch songs or comic relief, the songs that Jule Styne and Robert Merrill wrote tried to showcase Fanny as the great singer/comedian that she was. But as we all know, the songs ultimately showcased Barbra Streisand and now it showcases her most worthy successor, Lea Michele.

After seeing the woefully miscast Funny Girl revival in April 2022, honestly speaking I had no idea at what to expect with Ms. Michele. Admittedly, I saw Barbra Streisand and Sydney Chaplin do Fanny and Nick in 1964 at the Winter Garden Theatre and of course, I was blown away by Ms. Streisand and can’t recall much of Mr. Chaplin.

I can tell you this: You are not going to see another rendition so good for at least another 60 years. Ms. Michele nails the Brooklyn Jewishness that Fanny possessed. She has been given multiple wig changes that if you’ve seen pictures of the actual Fanny Brice, there is a closer resemblance here than even Ms. Streisand could capture. Her singing prowess is Herculean, there are lots of songs for her to sing, and with her big voice, she brings down the house with each one of them, from: “I’m the Greatest Star,” “People,” “Don’t Rain on My Parade” and the underappreciated “The Music That Makes Me Dance.”  Her final dramatic parting of ways with Nick, and pulling herself together to go out on stage is Fanny/Lea intertwined as one, blows the roof off the theatre.

At our April 2022 performance, Ramin Karimloo was out of the show. The second thrill of the night was seeing Mr. Karimloo. Not only does he have a sublime voice for singing; he can act  and bring nuances to his character, especially as his fortunes begin to falter, and he is sinking financially, by the end you can see the man crumble. That aside, he is gorgeous (pity the real Nicky Arnstein came nowhere close) and wait until the “Sadie, Sadie” number in Act II, and catch a glimpse of that body sculpted by Michelangelo.  Although not sung in the original show, it was written for the movie—the song “You’re a Funny Girl” was sung by Fanny—but here Mr. Karimloo, with his big voice, does a lovely, haunting rendition of it. It was criminal that the Tony committee neglected to nominate him last year in the best musical actor category.

At our performance, Tovah Feldshuh was out that night as Mama Brice and Broadway veteran Liz McCartney ably filled in. Thankfully, Tony nominee Jared Grimes as Eddie Ryan, Fanny’s choreographer and confidant, is still in the show, slaying the audience with his great tap number in Act I.

The pairing of Lea Michele and Ramin Karimloo is casting heaven. When it came to the start of Fanny and Nick’s relationship and their love scenes together, what was once absurd and laughable in 2022 is now nothing short of watching spontaneous sizzling combustion on stage. Their chemistry together is palpable and the audience is weak-kneed.

In this version, you can actually enjoy Michael Mayer’s direction, and he brings this show to life with Ayodele Casel’s tap choreography and Ellenore Scott’s choreography. Both are noticeable now and they are dazzlers. They all have a purpose now.

What a shame Funny Girl with Lea Michele, and Ramin Karimloo, won’t qualify for this year’s Tonys, as they would surely have won in every category. Don’t wait another 60 years. See Funny Girl now—and you’ll still be talking about it in 60 years.

Edited by Scott Harrah
Published March 1, 2023
Reviewed at February 28, 2023 performance.

‘FUNNY GIRL’: Lea Michele. Photo: Matthew Murphy.

‘FUNNY GIRL’: Tovah Feldshuh & Jared Grimes. Photo: Matthew Murphy.

‘FUNNY GIRL’: Lea Michele. Photo: Matthew Murphy.

‘FUNNY GIRL’: Lea Michele. Photo: Matthew Murphy.

‘FUNNY GIRL’: Ramin Karimloo & cast. Photo: Matthew Murphy.

The post ‘Funny Girl’: Lea Michele is the greatest star appeared first on StageZine.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

THE NEIL DIAMOND MUSICAL: A BEAUTIFUL NOISE
Book by Anthony McCarten
Music & lyrics by Neil Diamond
Directed by Michael Mayer
Broadhurst Theatre
235 West 44th Street, (212) 239-6200
https://abeautifulnoisethemusical.com/

By Scott Harrah

A Beautiful Noise is not exactly a Neil Diamond tribute concert or a solid jukebox musical such as MJ, Tina and Jersey Boys—all these shows had great stories to tell and also showcased the music of the artist portrayed. Instead, this show is akin to attending a Neil Diamond psychotherapy session, hearing him complaining to his therapist about his malaise and unhappiness in his old age. This therapy session takes place throughout the musical. For a man who is a world-renowned musical artist, had endless hit songs, fame and adulation, sold-out arenas, became quite wealthy, married three times and has multiple children, the show mostly focuses on the adage that fame and riches do not buy you happiness.

Neil Diamond is an American icon. He has sold more than 130 million records and had 10 #1 hits in the USA alone. Anyone who grew up in the 1970s and early 1980s knows his music was consistently played on the radio. Some say he has sold more records than Elvis. In addition, he got his break writing songs for other people, most notably “I’m a Believer” for the Monkees.

Despite the fact that all his hits are here—“America,” “Cherry, Cherry,” “Cracklin’ Rose,” “Solitary Man” and, of course “Sweet Caroline,” and tons more—there is no arc to the storyline. Neil Diamond was a multi-talented mega star who was essentially a nice Jewish boy from Flatbush, Brooklyn who made it big. Based on this show, he didn’t have any struggles with drugs or alcohol but he suffered from loneliness and had rocky marriages. A Beautiful Noise opens with a therapy session of older  Neil (Marc Jacoby) recalling his youth and start in show business through his songbook, while confessing everything to his understanding therapist (Linda Powell). Other than his three marriages, there is no insight into the man. It doesn’t leave much room for a buoyant musical. Fortunately, Will Swenson brings young rock star Neil Diamond to vivid life and gives a vibrant interpretation of Mr. Diamond in the late 1960s up to the early ’80s. When Mr. Swenson is onstage, sporting tight clothing and singing Diamond classics like “A Solitary Man” and “Brother Love’s Traveling Salvation Show,” complete with dancing chorus members, the show is lively and almost campy and will thrill Neil Diamond fans. Unfortunately, there are not enough production numbers of Diamond’s golden oldies, and many of the songs they do perform aren’t always his best.  The narrative of older Neil talking to his therapist about his past really makes the story drag most of the time.

Michael Mayer’s direction is unfocused, and Anthony McCarten’s book has a paper-thin narrative thread. Steven Hoggett’s choreography is frenetic and energetic at times, but not that original. Some of the performances are noteworthy. Bri Suda does a nice job playing Brill Building songwriter Ellie Greenwich (the woman who gave Mr. Diamond his first break), and she doubles in the role of Neil’s mother, Rose. Mark Jacoby is emotional in the right places as older Neil. The biggest redemption to the show and its greatest asset is Will Swenson as the young Neil Diamond, singing each song in a rough, mellifluous, velvety voice without trying to mimic the star. He brings the charisma, looks, energy and the sound needed to anchor and breathe life into this otherwise inert musical. A good jukebox musical about a legend often weaves cherished classic songs into a strong story that actually gives insight and perspective while showcasing the artist’s material. A Beautiful Noise fails to do much justice to the star as it never quite captures the pop-star magic of Neil Diamond in his heyday or reveals anything remarkable about such a legendary, gifted entertainer.

Edited by Scott Harrah
Published January 21, 2023
Reviewed at January 19, 2023 press performance.

‘A BEAUTIFUL NOISE’: (left to right) Will Swenson, Mark Jacoby & Linda Powell. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Robyn Hurder & Will Swenson. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Marc Jacoby. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’ (left to right): Michael McCormick, Tom Alan Robbins, Linda Powell, Marc Jacoby & Will Swenson. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Will Swenson & cast. Photo: Julieta Cervantes.

‘A BEAUTIFUL NOISE’: Robyn Hurder & cast. Photo: Julieta Cervantes.

The post ‘A Beautiful Noise’: Neil Diamond’s jukebox jam appeared first on StageZine.

‘FUNNY GIRL’: Beanie Feldstein & Ramin Karimloo. Photo: Matthew Murphy.

FUNNY GIRL
Book by Isobel Lennart
Revised by Harvey Fierstein
Music by Jule Styne
Lyrics by Bob Merrill
Directed by Michael Mayer
August Wilson Theatre
245 West 52nd Street
(877-250-2929), www.funnygirlonbroadway.com

By David NouNou

There is a reason why Funny Girl hasn’t been revived since its opening in 1964 and her name is Barbra Streisand. Everything about the show was tailor made for Ms. Streisand’s talents, phenomenal voice range and the ability to electrify an audience. By the time she finished her first number in Act I, “I’m the Greatest Star,”  she knew it, we believed it, and it became her anthem.

Funny Girl, along with Hello, Dolly! and later that year, Fiddler on the Roof, were among the last of the big, splashy musicals that were book-heavy. Of the three, Funny Girl has the weakest book and Harvey Fierstein hasn’t improved it any. The book centers on Brooklyn-born Fanny Brice who, although wasn’t pretty like a Miss Atlantic City, broke into show business through sheer grit, determination and raw talent. She started in vaudeville at Keeney’s Theatre, where she meets gambler/con artist Nicky Arnstein, works her way up to be in the Ziegfeld Follies, gets to serenade Nick singing “People,” and leaves the Follies to be with Nick, bringing us to the end of Act I and the immortal “Don’t Rain On My Parade.”

It is in Act II where the book becomes mawkish and lugubrious. As Fanny’s stock goes up, Nicky’s goes down. She makes the money; he gets wiped out and ultimately gets thrown in jail for three years for embezzlement. Eventually comes the parting of the ways. The book is weak, but the score is sublime. Whether written as ballads, torch songs or comic relief, the songs that Jule Styne and Robert Merrill wrote tried to showcase Fanny as the great singer/comedian that she was. But as we all know, the songs ultimately showcased Barbra Streisand.

Now, how can anyone fill such a tall order? Simply put, you can’t. Beanie Feldstein as Fanny gives it a valiant effort but she comes up short for so many reasons. Starting with she lacks the Brooklyn moxie, that energy that comes from struggling from the bottom to reach the top. Her performance doesn’t vary; there is no progression from young Fanny to the adult Fanny. Ms. Feldstein is sweet, energetic, and has a pretty voice but very little range. She doesn’t so much as attack the song as much as the song gets altered to fit her vocal range. Also, she is inconsistent. An example of that is when Nick invites her to dinner when they do the duet “You Are Woman, I Am Man,” there is no romance or sultriness to it; just plain mugging and chewing the scenery, and there is plenty of that. Because Ms. Feldstein has such a cherubic face, it is difficult to see her angry and her fierce bitterness accelerate, so instead you get the kind of performance a high school or college ingenue gives when playing adult roles. Another example of coming up short is the iconic line in the beginning of the show which was slightly altered in the movie: “Hello, Gorgeous.” Ms. Streisand said it like a woman and felt it. Ms. Feldstein uses it as a young ingenue throwaway line, instantly recognizable thanks to Ms. Streisand’s immortalization.

At our performance, Ramin Karimloo was out of the show and Nicky Arnstein was admirably played by Jeremiah James with his devilishly good looks.  If only the real Nick Arnstein had half his looks, it would make sense why Fanny was so crazy for him. Although not a song in the original show, but was written for the movie, the song “You’re a Funny Girl” was sung by Fanny. In this version, Mr. James with his big voice does a lovely, haunting rendition of it.

It’s a great pleasure to see Sophie Lennon from the Marvelous Mrs. Maisel, playing Jane Lynch doing Mrs. Brice as an Irish lady, peppering her dialogue with Jewish idioms. Jared Grimes as Eddie Ryan, Fanny’s choreographer and confidant, has a great tap dance number in Act I.

For me, it is a great pleasure to see such revivals as the magnificently executed and lavish The Music Man and Funny Girl with its brilliant score coming back to life again and finding new audiences.

Hearing a full orchestra playing the entire original score (including songs omitted from the 1968 film adaptation), and the stupendous overture with all those fine crafted tunes strung together, brought tears to my eyes. What a pity they don’t have overtures anymore.

Edited by Scott Harrah
Published April 29, 2022
Reviewed at April 28, 2022 press performance.

‘FUNNY GIRL’: (left to right): Kurt Csolak, Beanie Feldstein & Justin Prescott. Photo: Matthew Murphy.

‘FUNNY GIRL’: (left to right): Peter Francis James, Jane Lynch, Jared Grimes, Beanie Feldstein, Ephie Aardema , Debra Cardona, Martin Moran, Toni DiBuono & cast. Photo: Matthew Murphy.

‘FUNNY GIRL’: Beanie Feldstein & cast. Photo: Matthew Murphy.

‘FUNNY GIRL’: Beanie Feldstein, Jared Grimes & cast. Photo: Matthew Murphy.

‘FUNNY GIRL’: (left to right) Debra Cardona, Toni DiBuono, Jane Lynch & Jared Grimes. Photo: Matthew Murphy.

‘FUNNY GIRL’: Ramin Karimloo & cast. Photo: Matthew Murphy.

‘FUNNY GIRL’: Jared Grimes & Jane Lynch. Photo: Matthew Murphy.

‘FUNNY GIRL’: Jared Grimes & Beanie Feldstein. Photo: Matthew Murphy.

‘FUNNY GIRL’: Beanie Feldstein. Photo: Matthew Murphy.

‘FUNNY GIRL’: Beanie Feldstein & cast. Photo: Matthew Murphy.

The post ‘Funny Girl’: Uneven revival of classic appeared first on StageZine.

‘BURN/THIS’: Adam Driver & Keri Russell. Photo: Matthew Murphy

BURN/THIS
Written by Lanford Wilson
Directed by Michael Mayer
Through July 14, 2019
Hudson Theatre
141 West 44th Street
(855-801-5876), www.BurnThisPlay.com

By David NouNou

Death, mourning, guilt and grief make strange bedfellows in Burn/This.

Anna (Keri Russell) a dancer who recently became a choreographer, has just returned from her gay choreographer roommate Robby’s funeral where his family had no idea of what he did as a profession, who he was as a person, or that he was gay and had a lover. The general belief of the mourners is that Anna was his girlfriend. All they knew was from the news media that he was in a boating accident with his partner but didn’t want to know the details. Burton (David Furr) arrives from Canada to comfort the grieving Anna and offer solace. Burton is a well-to-do author and is serious about her. In comes her other gay roommate, Larry (Brandon Uranowitz), an adman that delivers everything with a biting sting, and they are all commiserating over the death of their friend and roommate, Robby.

Anna wants to be alone to pull her thoughts together, Burton leaves and Larry goes to his room. Like a bolt of lightning, Pale/Jimmy (Adam Driver) smashes drunkenly into the scene, in this case this vast downtown loft. He stumbles in with a barrage of incoherent cursing. Known as Pale professionally, “Jimmy” to friends, he is the brother of the deceased Robby. He is a month late in coming to pick up Robby’s belongings. Through his mumblings we ultimately learn of the guilt he feels for not knowing anything about his brother and abandoning him. Grief and guilt bring these two together. Anna finds out in the morning as he leaves that Jimmy is married and has two children.

Act II begins with Anna and Burton returning from a New Year’s Eve party. Burton is writing a new book, Anna is trying to choreograph a piece to dedicate to Robby, and Larry returns from Detroit after spending time with his family. This happy trio’s celebration is interrupted by Jimmy crashing in again and getting into a fight with Burton. Anna throws Burton out and Jimmy passes out momentarily. Thus starts the complications of their life.

The story is paper thin. How do these two mismatched people get to come together when the forces act against them? The late Lanford Wilson sets up the premise but for feasibility you have to stretch the imagination. I was not a fan of the 1987 Broadway production, featuring a psychotic John Malkovich and a more relatable Joan Allen as Anna, but in the original production there was a raw chemistry between Anna and Pale/Jimmy. Unfortunately, no such chemistry exists here. Keri Russell is gorgeous but lacks the theatrical presence of a frustrated choreographer. On the other hand, Adam Driver is hypnotic and galvanizing as Pale/Jimmy. So magnetic is his performance that when he leaves the stage, his presence can still be felt. It is unfortunate that it boils down to “The Beauty and the Beast.”’

There are two other interesting performances: One from David Furr as the losing suitor; he embodies strength, character and a sense of humor. The other is from Brandon Uranowitz, who supplies all the acidic humor with gusto and panache.

Director Michael Mayer has opted to infuse a comedic spin to the proceedings, and it is fine in some places, but it dilutes the more profound moments. There is enough solid acting and substance here to make this revival of Burn/This worth seeing, but the real burning comes from Adam Driver. He makes the stage come alive.

Edited by Scott Harrah
Published April 19, 2019
Reviewed at April 18, 2019 press performance.

‘BURN/THIS’: (left to right) David Furr, Keri Russell & Brandon Uranowitz. Photo: Matthew Murphy

‘BURN/THIS’: Adam Driver. Photo: Matthew Murphy.

‘BURN/THIS’: Keri Russell. Photo: Matthew Murphy

The post Adam Driver provides the sparks in ‘Burn/This’ appeared first on StageZine.

‘HEAD OVER HEELS’: Taylor Iman Jones & the company. Photo: Joan Marcus

HEAD OVER HEELS
Songs by The Go-Go’s
Based on The Arcadia by Sir Philip Sidney
Conceived & Original Book by Jeff Whitty
Adapted by James Magruder
Music supervision, orchestrations & arrangements by Tom Kitt
Choreographed by Spencer Liff
Directed by Michael Mayer
The Hudson Theatre
141 West 44th Street
(855) 801-5876
www.HeadOverHeelsTheMusical.com

By Scott Harrah

Being an aging Generation X member and a longtime Go-Go’s fan, I was initially thrilled when I heard about Head Over Heels, thinking it would be a fun chronicle of the ups and downs of Belinda Carlisle, Jane Wiedlin, Kathy Valentine and the rest of the L.A. all-female rock group from the 1980s. When I later realized the show is a jukebox musical featuring Go-Go’s music and a story based on Sir Philip Sidney’s obscure Elizabethan story The Arcadia, my expectations were low indeed. A tale set in a mythical land with a royal family facing the threat of its beloved “beat” sounds like an absurd premise for a jukebox musical showcasing the iconic hits of the most successful female rock band ever, but naysayers and skeptics beware: The show grows on you if you simply go along with it and accept it for nothing other than the mindless, splashy entertainment it is.

Brought to us by musical supervisor Tom Kitt, choreographer Spencer Liff, book writer Jeff Whitty and director Michael Mayer–the creative team behind such Broadway blockbusters as Hedwig and the Angry Inch and American Idiot, Spring Awakening and Avenue Q—Head Over Heels is a mixture of a 17^th century romance with gender-bending characters that often speak in Shakespearean iambic pentameter.

The plot revolves around the King of Arcadia, Basilus (Jeremy Kushnier) and Queen Gynecia (Rachel York) reigning over an ancient kingdom, along with their younger daughter Philocea (Alexandra Socha). The younger princess is romantically involved with a shepherd, Musidorus (Andrew Durand). Their older daughter Pamela (Bonnie Milligan) has a secret. The kingdom’s future is threatened when the non-binary Pythio, the Oracle of Delphi (Peppermint), unleashes a prophecy of doom.

Such Go-Go’s classics as “We Got the Beat,” “Vacation,” “Our Lips Are Sealed,” “Turn to You” and “Lust to Love,” along with the Belinda Carlisle solo hits “Mad About You” and “Heaven is a Place on Earth,” are woven into the wacky narrative of changing genders, revolution in the monarchy and sexual discovery.  The story’s humor is sometimes riddled with corny visual puns, such as the choreography for “Mad About You” when dancers are dressed as sheep. Get it? Ewes.

The show is a colorful mess, thanks to winning period costumes by Arianne Phillips and Spencer Liff’s frenetic choreography.

Some of the cast members are also refreshing. Jeremy Kushnier, Andrew Durand and Rachel York give good but mostly serviceable performances, and Peppermint as Pythio primarily serves up the boilerplate camp that made her (or they?) famous on “RuPaul’s Drag Race.” The true standouts here are the winning Bonnie Milligan as Pamela, the brash and zaftig young princess who gets many of the laughs, as well as Taylor Iman Jones as her gal pal Mopsa. Both Ms. Milligan and Ms. Jones are a sheer delight whenever they are onstage.

In comparison to some of the dreadful jukebox musicals recently, from the inane Escape from Margaritaville (featuring Jimmy Buffett songs) to the factually challenged Summer: The Donna Summer Musical, Head Over Heels is a vast improvement for the genre. Perhaps an escapist tale with Go-Go’s songs, full of characters exploring nonconformity and sexual freedom, is exactly the tonic needed in these troubled times.

Edited by Scott Harrah
Published August 3, 2018
Reviewed at August 2, 2018 press performance.

‘HEAD OVER HEELS’: Rachel York & Jeremy Kushnier & the company. Photo: Joan Marcus

‘HEAD OVER HEELS’: Peppermint (center) & the ensemble. Photo: Joan Marcus

‘HEAD OVER HEELS’: Tom Alan Robbins & Jeremy Kushnier. Photo: Joan Marcus

‘HEAD OVER HEELS’: Andrew Durand & Alexandra Socha. Photo: Joan Marcus

‘HEAD OVER HEELS’: The ensemble. Photo: Joan Marcus

‘HEAD OVER HEELS’: The company. Photo: Joan Marcus

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