Funny Girl

A trip back in time to 1920s New York was on the cards for EODS latest production, Funny Girl.  Probably known to most people (and certainly me) by the classic Barbra Streisand movie, the stage musical was actually the original telling of the tale of Fanny Brice.  I had not seen this show before, so it was a pleasure to see it brought to life so capably by the EODS team. 

Funny Girl opens with Fanny Brice, a stage struck teen, getting her first job in vaudeville.  It’s not long before her star begins to rise, and she’s soon performing as part of the Ziegfeld Follies on Broadway.  When she meets, falls in love with and later marries charismatic high-roller Nicky Arnstein, it seems as if success and happiness is assured.  But things go downhill as Nicky’s investments begin to fail, despite the support of his now wealthy wife.  The story ends as Nicky, released from prison following a conviction for embezzlement, abruptly leaves the still doting Fanny.  But the show still manages to end on an upbeat note, as Fanny vows to pick up and run with her life again.

Phoebe Smithies was excellent as Fanny Brice, particularly in the many emotional beats of the show – her tender performance of ‘People’ was a very good example of this.  I also thought that her transition from despair to positivity at the end was very convincingly portrayed.  The director’s note in the programme rightly pointed out that Funny Girl is much more than a one-woman show, but an awful lot still rests on the portrayal of Fanny, and Phoebe was absolutely up to the task.  Alongside her, Evan Wride was a debonair Nicky Arnstein, really bringing out the feckless nature of the character.  His desertion of the faithful Fanny at the end was really well done, highlighting Arnstein’s harsh coldness.

As Fanny’s mother, Mrs Brice, Alison Roberts was nicely deadpan, enjoying a very funny number in ‘Find Yourself a Man’, and accompanied at all times by her wry poker buddies, Mrs Strakosh, Mrs O’Malley and Mrs Meeker (Amanda Goulding, Bev Howlett and Bex Barclay).  Eddie Ryan, Fanny’s mentor and friend, was nicely played by Nathan Warren, effectively developing this supportive character and showing off some nifty tap dancing along the way!  Finally amongst the principals, Dan Hampshire was a confident Florenz Ziegfeld Jr, the man who made the Follies!

The fifteen strong ensemble made for some excellent group scenes, in particular in their portrayals of the performers and backstage team at the Follies.  ‘Rat-Tat-Tat-Tat’ was a particularly strong number, with its Busby Berkeley-influenced dance styling (well done to choreographers Chloe French and Claire Watson) and clear nods to the First World War period around which the play is set.  I also thought ‘Henry Street’ was really enjoyable, full of energy and movement.  It was an interesting choice to leave Fanny largely on her own for the iconic Act 1 closer ‘Don’t Rain on My Parade’.  Phoebe absolutely rose to the challenge, and held the stage, but she did seem a little lonely!  Perhaps that was the point.

The show was ably directed by first-time director Nicola Jackson, leading us through the many time jumps that pepper the show – no easy task to keep on top of the plot!  I did wonder if some of the action could have been brought forward a little more, for example during the amusing, flirtatious musical number ‘You Are Woman, I Am Man’, which happened at a bit of a distance from the audience.  But good use was made of the space – choosing an open staging with minimal scenery enabled the team to keep the pace up very effectively.  Talking of scenery, the show finished with the unveiling of a very impressive backdrop of a theatre auditorium – complete with footlights – as Fanny turned to take her final bow.  It must have been very tempting to use that a lot more! 

Sound and lighting was efficiently dealt with, and the various props and furniture changes neatly done.  I thought the costumes were good, and hair and make-up – important in delivering that period feel – were both absolutely on point. 

Congratulations to all at EODS for bringing some Broadway pizazz to the Henrician, and for telling the story of Fanny Brice so engagingly.  The enjoyment of the whole cast shone through, and was infectious.  Keep up the good work, and I look forward to seeing something rather different for Halloween!

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