What Do Happy People Do? See Funny Girl at the Orpheum, of course! - by Amy Watters

What Do Happy People Do? See Funny Girl at the Orpheum, of course!

I’m not alone when I say I found the drama behind the Broadway revival of Funny Girl, the story of young performer Fanny Brice and her rise to stardom, far more compelling than the show itself. Naturally, when it was announced the production would go on tour, it was met with some skepticism. Having now seen the touring production, I find it a shame as all that time there has lain a beautifully directed, stunningly designed, and (of course) phenomenally performed rendition of the Streisand classic.

Immediately, Michael Mayer’s direction shines, opening with ghosts from Fanny’s past performances visiting her as she reminisces on the highlights of her career. This scene returns in Act II, giving the show a dreamlike quality like the events are occurring as memories. Mayer demonstrates his strength as a director through the musical numbers. To prevent monotony across Fanny’s many solos, Mayer changes the tone to reflect her mental state. For instance, “I’m the Greatest Star '' is full of movement with Fanny running all over the stage, representing Fanny’s optimism for her future. In contrast, in the Act II showstopper “The Music That Makes Me Dance,” Fanny stands still, letting McCrimmon’s jaw-dropping vocals take focus.

Susan Hilferty’s costumes are a highlight, with the costumes mirroring Fanny’s character arc. At the start, her clothes, such as her muted pink suit-dress, are made from dull fabric, appearing more like hand-me-downs and making Fanny seem out of place among the wealthy producers she works for. After meeting Nick, her costumes become wealthier, using more expensive fabrics like lace and satin and bright, pastel colors. This is most clear when she takes Nick to Henry Street and she stands out among around the crowd with her pink lacy gown (a dress so stunning, my jaw-dropped when it was revealed). Finally, she ends the show in a bold, bright red, beaded dress, having shed the girly persona Nick had forced her into and the pastel and feminine outfits that came with it.

However, I’d be remiss if I didn’t discuss the absolute marvel of Katarina McCrimmon as Fanny Brice. Her performance more than lived up to the legacy of Streisand, delivering what may be the best live vocals I have ever seen. Multiple moments, for instance, the end of the iconic “Don’t Rain on My Parade,”  left me floored, fighting the urge to stand up and give a standing ovation. McCrimmon’s acting left nothing to be desired either, serving physical and verbal comedy, and some devastating moments of vulnerability. Everything from her excellent accent to her hilarious physicality created a character filled with nuance and life. 

Another standout performer was Barbara Tirrell as Rose Brice, Fanny’s mother. Tirrell made the most of a minimal amount of stage time through her strong sense of warmth and history, elevating a character who may otherwise be forgettable into one with so much depth I found myself wanting to see a musical about her life too. Although she didn’t get as much to sing as I would have hoped, when she did, I was completely entranced, especially at the end of songs like the reprise of “I’m the Greatest Star.”

Overall, the touring production of Funny Girl left a truly fabulous impression. The costumes, performances, and direction were so lively and interesting, that they managed to lift my spirits after a long, dreary, and freezing January day. Just thinking of the show puts a smile on my face and I implore everyone to go out and see this one-of-a-kind production at the Orpheum from now until January 21.