FUNNY GIRL

In all my years of reviewing theatre, (and of seeing everything on Broadway since I was a little girl,) I never ever thought that I’d have the opportunity to see Funny Girl! And, truth be told, I actually didn’t care much about that lack since I wouldn’t be seeing Barbra Streisand or Lea Michelle in it. But let me tell you, this National Tour that’s playing now at the Ahmanson Theatre in downtown LA is wonderful, especially Katerina McCrimmon, the actress who’s taken on the lead role of Fanny Brice for the tour.

No matter what part of any musical that you’re the most into—the story, singing, dancing, acting, costumes, choreography, set—you’re sure to enjoy those elements in these almost-three hours.

In case you’re the one person who’s not familiar with the story, it’s the far-from-exact biography of 1920s Ziegfeld Follies comedic star, (hence the “Funny Girl” moniker,) Fanny Brice. The action goes from about 1908-1924. And it’s all set to music. Beautiful music.

The Ahmanson Opening Night audience went absolutely berserk for just about every number! No one seemed to want to stop cheering for the performances, especially that of Katerina McCrimmon.

I understand that it will be hard for some audience members to not compare her to Barbra Streisand or Lea Michelle, (the two women who were hits in the show on Broadway, almost sixty years apart!) But I suggest that you just enjoy Katerina’s own powerhouse performance. (So that you know you’re not alone in this, yes, admittedly, I, too, am sad that I missed Lea doing the role, but oh well. We’re all lucky to witness the making of a new star.)

I knew that Katerina is a “newcomer” to the biz going in, but I’m still shocked by her dearth of stage credits for someone who can sing like that! She hadn’t even understudied the role on Broadway, but she seems like a seasoned pro!

I have a feeling her path will be akin to when everyone discovered Sutton Foster in Thoroughly Modern Millie in 2002, and her career skyrocketed from there. (That being said, I have a feeling that dance is Katerina’s one weakness, while it is definitely one of Sutton’s fortes. But dance ability is hard to judge from Funny Girl, where the character is definitely not a dancer! So we’ll have to wait and see.)

Speaking of dance, as you may know, I care more about that art than any other. So I was enthralled by the few tap numbers, which are all fabulous. I learned the most about tap from my very dear friend, the late Fayard Nicolas, (of the Nicholas Brothers,) and I promise you that he would have loved all the dancers, especially Izaiah Montaque Harris as Eddie, Fanny’s bestie, and the tap choreography by Ayodele Casel. Fayard always told me that he prefers this style of tap, where people stand-up straight and let their feet do the work, as opposed to the tappers who ply their trade all hunched-over and sort-of leaning down. Every time Izaiah danced in Funny Girl, I was wishing that Fayard could have seen him.

Fanny’s love interest, Nicky Arnstein, is played by handsome Stephen Mark Lukas. He has an absolutely beautiful voice. But, (I hate to say this,) dancing is not his strong suit. He looked so relieved when his one brief dance number, surrounded by the real dancers, was over! But he does an admirable job of faking it. And I’d rather hear someone sing like he does in that role than care about his footwork, (or lack thereof,) in one big production number.

I’m sure that older audiences, especially, will be thrilled to see Melissa Manchester as Fanny’s mother. I didn’t even know that she acts, (as opposed to just singing,) so she was a nice surprise.

There is nothing like live orchestra music! Even the overture for Funny Girl is exciting, (which is good because it’s the longest one I’ve ever heard, in an excellent way.) The audience I saw the show with started going nuts for it the second the first note was played, conducted by Elaine Davidson. (Girl power!) It also helps that the Ahmanson has one of the most superior sound systems around.

And this is fun—it appears that the “stagehands” are really the dancers, so just their movements while changing the set pieces makes everything cute and creative.

Just know this going in: Act I has most of the comedy while Act II gets serious. But that’s the order of Ms. Brice’s life, so just go with it.

And also know that, for those of you who are waiting for the big song, My Man, from the film’s end, forget about it. It’s not in the stage version. I was all geared-up for it, and then all of a sudden the show was over. So now all of you are prepared for it to not happen. (You’re welcome.)

For all of us who are lucky enough to see Funny Girl on tour, I’m so glad it has been revived in our lifetime. Do yourselves a favor and do not miss this brief run here in Los Angeles.

Funny Girl running through April 28, 2024
Ahmanson Theatre  135 N. Grand Avenue
213-972-4400 www.centertheatregroup.org