Review: MSMT's FUNNY GIRL: Bold, Beautiful & Star-Studded

Maine State Music Theatre’s new production of FUNNY GIRL is a triumph for its star and a coup for the company. Obtaining the first rights to produce the show after the closing of the recent Broadway revival is an unprecedented accomplishment for the theatre’s Artistic Director, Curt Dale Clark.  In addition, the production, itself, is arguably the first FUNNY GIRL anywhere to use the state-of-the art video technology, and perhaps the most thrilling feat of all: not only does the entire cast deliver stunning performances, but Jenna Lea Rosen, who makes her MSMT debut and role debut as Fanny Brice, is unquestionably a superstar. The result is an evening in the theatre that is as exhilarating and spellbinding as any you will see on any stage and an experience not to be missed!

Not only is FUNNY GIRL the story of songstress and comedic legend, Fanny Brice, but the 1964 musical, portraying her rise to stardom and her love for gambler, Nick Arnstein, made an instant star of the young Barbra Streisand. Indeed, Streisand has been so associated with the show that revivals have often proved challenging to mount. MSMT has presented FUNNY GIRL only twice before, the last production forty-six years ago. The music and lyrics by Jule Styne and Bob Merrill constitute a tour de force for the leading lady, while Isabel Lennart’s book focuses on Brice’s romance with Nick Arnstein and her all-consuming drive for stardom.

Music Director Jason Wetzel (Jacob Stebly, Associate Music Director) brings his comprehensive knowledge of this repertoire to bear in shaping masterful instrumental and vocal performances. The nine-piece orchestra plays Styne's melodies with a warm, contoured lushness.

Director/choreographer Kenny Ingram imbues the entire production with sparkle and joy. He finds the humor, the heart, the raw energy, the sense of time and place, and his effervescent choreography vividly recreates the Ziegfeld era. Ingram is a master of tap and jazz and truly brings to life the big production numbers, as well as cleverly using dance moments to illustrate character and punctuate the action.

Jeffrey D. Kimiec’s scenic design and Luis Garcia’s video design make inspired use of the new MSMT technology. Together with lighting designer Sam Biondiello, they are able to give the entire production a cinematic flavor, while suggesting the gritty realism of places like Manhattan’s Lower East Side, the glitz of vaudeville houses, and the glamorous world of Brice and Arnstein. There is a painterly look and a naturalism reminiscent of  artists of the period like John Sloan and The Eight. The transitions in locales are often executed with fade and swipe devices, increasing the feel of a movie, and the lighting/projection style alternates between literal realism for the book scenes and a more abstract approach for songs – suggesting the transition into the interior world of the character. The starry setting for “People” is a magical use of this concept.

J.Theresa Bush’s costumes (Kevin S. Foster II, wigs) with their intricate color, pattern, and texture add to the flavor of the early 1900s and are far more authentic than those of the iconic movie, which inserted then contemporary(1960s) details.  As befitting “the greatest star,” Fanny enjoys more than a dozen striking outfits, several of which (like Brice’s leopard coat) make a nod to the movie. Shannon Slaton serves up a rich soundscape, while Amy Bertacini is the expert Production Stage Manager.

The 24-person cast coalesces into a dazzling ensemble. Jenna Lea Rosen is, quite simply, sensational!  She delivers a tour de force performance that probes the depths of Fanny Brice’s soul, portraying her brassy, yet disarming presence, her determination, her unshaken passion for her métier, her off-beat humor that served as protective armor and a way to connect with audiences, and her desperate longing for love and validation. Moreover, Rosen makes the arc of Brice’s journey credible from bundle of awkward, girlish energy to wiser, sadder, indomitable adult.  Vocally, Rosen               possesses the range, the extraordinary color and singular power to create a frisson when she sings. She shines in showstoppers like “Don’t Rain on My Parade” or “Cornet Man,” and she melts hearts in ballads like “People” and “Funny Girl.” Rosen’s complete identification with the role is riveting; from her murmured first line, “Hello, gorgeous” to the closing anthem, she mesmerizes completely.

Douglas Raymond Williams makes an excellent foil for her as Nick Arnstein.  He conveys the breezy charm of the character, (though he eschews any continental accent or mannerisms), and there is genuine chemistry between the pair.  His vocal moments are few, but he makes the most of them and finally gets to let loose in the short reprise from “Don’t Rain on My Parade,” where he displays a powerful baritone and suave delivery.

Tyler Johnson-Campion portrays a sympathetic Eddie Ryan – the kindly song and dance man with a soft spot for Fanny. A virtuoso dancer, Johnson-Campion captures the razzle-dazzle of vaudeville; he wows the audience with his tap skills, making “Eddie’s Fifth Encore” a showstopper, and shining in the big production numbers.

Sue Cella, Charis Leos, and David Girolmo bring star power to their supporting roles.  Cella makes the perfect Mrs. Brice - protective, assertive, sometimes harsh Jewish mother, who nonetheless, loves her daughter deeply.  She delights audiences in her song and dance numbers, demonstrating that famous split at the close of “Who Taught Her Everything.”  Leos gleefully portrays the brassy, matchmaking, poker-playing neighbor, Mrs. Strakosh, while Girolmo makes Ziegfeld a dignified, paternal, caring figure, commanding respect. Tommy Betz gets a moment to display his crystal clear, high tenor in the Bride sequence, while Mark Aldrich portrays a harried Tom Keeney.

The remainder of the cast (Joe Capstick, Mary Beth Donahoe, Tauren Hagans, Michelle Beth Herman, Jeremiah Valentino Porter, Mandie Rapoza, Alexander Rios, and Juson Williams), together with the MSMT Singers in their mainstage debut (Karoline Brechter, Thomas DalCeredo, Jessica Hoadley, Calista Jones, Nate Krohmer, Christian Lane Miller, Lav Raman, and Mark Tran Russ) demonstrate their triple threat skills.  Big production numbers like “Henry Street” and ”Rat-tat-tat” showcase the ensemble’s exceptional dance abilities, and each succeeds in individualizing his/her character.

The true measure of a theatre company is found in the artistic excellence of its productions, as well as the quality of its repertoire. MSMT can pride itself on its consistently high standards in both. The company’s ability to present both classics and the modern masterpieces from the American musical canon as they were intended to be experienced, yet always with a layer of contemporary understanding and fresh originality is surely among MSMT’s greatest strengths. This revival of FUNNY GIRL adds luster to the legend of Fanny Brice, and retells her story to entirely new audiences.

Just as the heroine whispers into the mirror at the start of the piece, “Hello, gorgeous,” we, as an audience, can only revel in this brilliant production that is gorgeous in every sense – bold and beautiful to see and hear, memorable and heartwarming in an unforgettable way.

 

Photos courtesy MSMT, Jared Morneau, photographer

FUNNY GIRL runs from June 26-July 13, 2024, at MSMT’s Pickard Theater on the Bowdoin College campus, 1 Bath Rd., Brunswick, ME   www.msmt.org  207-725-8769

 

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