Review: FUNNY GIRL - The Greatest Star Comes to the Ohio Theatre

It seems an impossible feat to follow in the shadow of the legendary Barbara Streisand who originated the iconic role of Fanny Brice in the 1964 Broadway production of FUNNY GIRL, which received eight Tony Award nominations.  But Hannah Shankman marched herself onto the stage at the Ohio Theatre and commanded every beat of the drum.  She’s quirky, clever, adorable, ambitious, lovable, and has impeccable comedic timing – but her show stopping voice is what sets her apart and generates thunderous, mouth-dropping applause.  And she does it with such natural ease.

Directed by Michael Mayer and featuring one of the most iconic scores of all time by Jule Styne and Bob Merrill, a revised book by Harvey Fierstein based on the original version by Isobel Lennart, FUNNY GIRL tells the semi-true story of vaudeville singer/comedian Fanny Brice and her rise to stardom while falling in love with professional gambler Nick Arnstein on whom she’ll risk everything.  It’s a story about big dreams, unwavering hearts, and ultimately finding your own way.

Hannah Shankman found her own way with her sensational voice and phenomenal stage presence.  She can effortlessly belt out the big numbers (“I’m the Greatest Star,” “People,” “Don’t Rain on My Parade”), then will melt your heart with her buttery voice (“The Music That Makes Me Dance,” “Who Are You Now?”).  Sean Seamus Thompson played the gorgeous gambler Nick Arnstein on opening night.  He was magnetic, charming, charismatic, and had undeniable chemistry as a leading man.  His duets with Shankman were beautifully authentic.  

The rest of the cast was equally impressive.  It was a treat to see the great Melissa Manchester return to the stage to play Mrs. Brice after her 50 year successful career as a Grammy-award winning singer/songwriter, most loved for her hit song, “Don’t Cry Outloud.”  Jack Bianchi played friend Eddie Ryan on opening night, who was a tap dancing superstar.  The ensemble of men and women are extraordinary performers and captivating to watch, especially in the tap numbers.  

Costume design by Susan Hilferty showcased the colorful period pieces of the vaudeville era, and stunning sets by David Zinn were equally impressive.  Choreography by Ellenore Scott and Ayodel Casel kept the pace moving swiftly with precision. Simply put, there is not a weak link anywhere on or off stage.  

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