Archive for January, 2024

“Funny Girl” Tour Showcases Its Star, Despite Uneven Script

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , on January 25, 2024| Leave a Comment »

Funny Girl
Music by Jule Styne, Lyrics by Bob Merrill
Book by Isobel Lennart, Revised Book by Harvey Fierstein
Directed by Michael Mayer
Choreographed by Ellenore Scott
The Fox Theatre
January 23, 2024

Katerina McCrimmon, Izaiah Monteque Harris
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

The recent Broadway revival of Funny Girl was certainly not without controversy. Even though this show has always been sort of overshadowed by the reputation of its original star, Barbra Streisand, the revival had its own casting drama that went beyond Streisand comparisons. While the show has closed on Broadway, the tour is going strong, and even though the show itself is hardly worthy of decades of hype, it’s still a fun vehicle for the right performer. And in this tour, in terms of sheer talent and energy, Katerina McCrimmon makes a strong case for being the “Greatest Star” that this show needs.

The story, as anyone who is familiar with the show knows, is a highly embellished rags-to-riches story following famous comic performer Fanny Brice (McCrimmon), who starts out as an unknown from Henry Street and eventually becomes the toast of the famed Ziegfeld Follies, eventually appearing in radio, film, and TV, as well. The story follows her humble beginnings trying to break in to show business, meeting dancer Eddie Ryan (Izaiah Monteque Harris), who helps her get her first job, where she is eventually noticed by ambitious businessman and gambler Nick Arnstein (Stephen Mark Lukas), who charms his way into her life and eventually marries her. The show is at its strongest when showcasing Fanny’s talents–from her first big solo “I’m The Greatest Star” to well-known hits “People” and “Don’t Rain on My Parade” to her final torch-song “The Music That Makes Me Dance”, along with her glitzy, choreographed Follies numbers. Her relationships with Eddie and her mother (Barbara Tirell) are also memorable, as are her early moments with Nick, although in the second act the romantic drama becomes something of a slog. Also, the scenes with Mrs. Brice and her poker pals Mrs. Strakosh (Eileen T’Kaye) and Mrs. Meeker (Hannah Shankman) can distract unnecessarily from the main story. Still, this show is it its best when it centers on Fanny herself, and even though the first act is better than the second–until the memorable finale–for the most part it’s an entertaining, well-cast show. 

One of the odd phenomena surrounding this show, though, is that now, Brice herself isn’t as well-known as the performer who originated the role in the first Broadway production of this play, as well as the movie, and whenever anyone hears the name “Fanny Brice” or Funny Girl, the first name that comes to mind is usually Streisand’s. The audience members sitting behind me at the Fox are testament to this, as they wondered who else could live up to that illustrious reputation. Well, I’m pleased to say that McCrimmon does about as excellent a job as I can imagine, and the audience appeared to agree with me, giving her thunderous applause after her big numbers and an enthusiastic ovation at the end. McCrimmon is great with the comedy and the drama, and her powerful voice does justice to the score. She doesn’t copy Streisand, although there are a few moments in “People” especially in which she evokes memories of the legendary singer. Still, this show is about Fanny Brice, not Barbra Streisand, and that is reflected well in the strong direction. There are also standout performances by Harris–a tap-dancing marvel–as Eddie, and Tirrell as the feisty, supportive Mrs. Brice. Lukas also brings a good deal of charm and charisma, as well as a great voice, to the role of Nick, even though I still find it difficult to sympathize with his character. There’s also a strong, enthusiastic ensemble, especially in the Ziegfeld numbers, and energetic choreography by Ellenore Scott.

The show looks good, as well, for the most part, except for a few awkward set pieces in the Henry Street scene. Still, the set by David Zinn, costumes by Susan Hilferty, and lighting by Kevin Adams bring out a credibly authentic mood reflecting the early 20th Century time period and “Old Broadway” setting. The sound is a bit low in parts, and especially early in the show, the songs can be difficult to understand, although this does improve noticeably as the show goes on. The orchestra, led by music director Elaine Davidson, does a great job with the classic Jule Styne score, as well.

So, as I’d say with any production of Funny Girl, if you’re looking for Barbra Streisand, you won’t find her here. Still, if you’re looking for a funny, talented, big-voiced talent that can light up a stage, you will certainly find her in this production on tour at the Fox. It’s not a perfect show, but the star is excellent, supported by a great cast, and this show makes for an entertaining evening of musical theatre. 

Stephen Mark Lukas, Izaiah Monteque Harris, Katerina McCrimmon
Photo by Matthew Murphy for MurphyMade
Funny Girl North American Tour

 

The North American tour of Funny Girl is running at the Fox Theatre until February 4, 2024

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Well-Cast “Hold On!” is a Memorable Start to the Season for the Black Rep

Posted in St Louis Theatre, tagged , , , , , on January 20, 2024| Leave a Comment »

Hold On!
by Paul Webb
Directed by Ron Himes
The Black Rep
January 12, 2024

Cast of Hold On!
Photo by Dunsi Dai
The Black Rep

Opening the weekend before Martin Luther King Jr. Day, the Black Rep’s latest production focuses on an important moment in time in the life Dr. King and the American Civil Rights Movement. Hold On! was written by Paul Webb, who also wrote the screenplay for the film Selma, on which this World Premiere play is based. Focusing on the work of King and other Civil Rights leaders, along with their efforts for voting rights and for the support of President Lyndon B. Johnson, the play has a sweeping scope, a fairly large cast, and a quick pace. It covers a lot of historical ground, and as staged at the Edison Theatre by the Black Rep, it’s a fascinating play.

As director Ron Himes pointed out in his program notes, this show is sort of the “flip side” of Robert Shenkkan’s All the Way, which focuses on LBJ and his role in the passage of the Civil Rights Bill in 1964. Himes appeared in the production of that play at the Repertory Theatre of St. Louis in 2015, and has cast the same actor who played LBJ in that production, Brian Dykstra, to play the same role here. In Hold On! while LBJ does play a prominent role, the main focus is on Dr. King (Enoch King) and other activists involved in the effort for voting rights in Selma, Alabama in 1965. The build-up to the well-known marches and protests is covered, while portraying many figures involved in the events, including local activists Annie Lee Cooper (Tamara Thomas) and Jimmie Lee Jackson (Jason Little) as well as Coretta Scott King (Evann De-Bose),  Ralph Abernathy (Gregg Carr, Sr.), and John Lewis (Greg Carr II); as well as prominent opposition figures like Sherriff Jim Clark and Governor George Wallace (both played by Eric Dean White). There’s a lot of story to tell here, with locations shifting between Selma, Washington, DC, and elsewhere, and as King deals with pressures from Johnson to call off the Selma efforts, as well as personal issues in his marriage, as the governor tries to quell the protests with tragic results. It’s a sweeping, well-constructed show that manages to include many details while portraying its characters as complex human beings. 

The staging is excellent, emphasizing action, with a prominent Oval Office setting center stage and the rest of the events staged around it with precision. Dunsi Dai’s set is detailed and versatile, with vivid lighting by Sean Savoie and memorable projections by Zach Cohn that evoke the time, place, and mood of the story. There’s also strong work from costume designer Marc W. Vital II and props designer Meg Brinkley, helping to transport the audience to 1965 in an effective way.

The cast is wonderful, led by King in remarkably complex performance as Dr. King, effectively portraying his charisma and ideals as well as his conflicts. Dykstra, as LBJ, is also strong, in a thoroughly believable portrayal. White is also a standout in a double “villain” role as the profane, ambitious Governor Wallace and the belligerent Sherriff Clark. De-Bose, as Coretta King, also gives a convincing performance, as well as displaying a strong singing voice at a few moments. The rest of the cast, most playing multiple roles, is also memorable, with Isaiah Di Lorenzo as LBJ’s aide and speechwriter Richard Goodwin, Thomas as the persistent Annie Lee Cooper, and Little as Jimmie Lee Jackson as standouts. It’s a strong ensemble all around, also featuring Walter Cummings, Joel Anthony, Thomas Patrick Riley, and Tammie Holland. 

Hold On! manages to capture a sense of urgency as well as the sense of importance of its subject, which still resonates today. It’s a superbly crafted production of a well-constructed script, featuring a first-rate cast. It’s another example of theatrical excellence from the Black Rep.

Enoch King, Brian Dykstra
Photo Dunsi Dai
The Black Rep

The Black Rep is presenting Hold On! at Washington University’s Edison Theatre until January 28, 2024

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