FUNNY GIRL on Broadway - Reviews & News Thread- Page 37

[Auggie27]

Posted: 4/1/22 at 7:44am

Those of us who don't sing, and have no knowledge of how voices train -- both to land specific music and endure over a run -- would appreciate any information experts can share here.

Two narratives are emerging about Funny Girl: 1) it's early, and Feldstein will negotiate the score more successfully with more performances, better understanding of the demands, and acquired stamina; and 2) she's had months to train, weeks to rehearse, and she's using the instrument she's got: taxed thus, this is her Fanny. I suspect the reality is between these two poles, but would welcome any specifics about the mystery (to the rest of us) of singing. One can surmise that she's worked with a private coach -- maybe Fierstein sent her to industry's best, Joan Leder -- and the musical director on the matter of keys. Wouldn't keys be determined early? Adjusted as the show began to work in earnest? 

How much can a singer "improve" simply performing a set of songs 7-8 times a week? It's a question, and a serious minded one.  I return to the LuPone memoir, in which she explained in detail what it took for her to learn to sing Eva six times a week, never mastering it (to her own satisfaction or more importantly, comfort) until she played in Australia. She was taught to sing on "her interest, not her capital." But LuPone learning how to sing a score set in the passagio six times a week -- she had a stunningly agile instrument -- seems a very different issue than Feldstein's challenge.  Again, a layman's guesswork and set of questions.

[BJR]

Posted: 4/1/22 at 8:09am

Auggie27 said: ""I actually happen to have an understudy slip from the summer you're referring to. Terri Klausner did evenings and Nancy Opel did the matinees that week."

Phew. Thanks, Fire and Music. Memory is dangerous. And this is seemingly off topic, for a one joke quip, but ultimately may prove relevant. The LuPone memoir details not dissimilar experiences on the road, when she blew out her voice multiple times -- including at the sitzprobe -- and Klausner went on, even with critics attending. The cast posted Klausner reviews right in the building. We know the ending in that case; LuPone triumphed, and her career trajectory turned her into a B'way legend. But LuPone's blistering honesty about what it's like to work on a role with another singing actor waiting in the wings is quite a context. Had Evita opened in LA and SF in the days of social media, what would the impact have been, with another performance available for comparison to LuPone's (Note, fans: I'm in no way comparing the iconic LuPone Eva to Feldstein's Fanny. I saw the first NYC performance, 9/10/79 -- day I signed a lease on my first apartment here -- and can state Patti was superb, vocally and otherwise; it's only the circumstances that are worth noting).

Since Funny Girl will lose Feldstein next month for a handful of performances, comparisons will be made, and fairly early in this show's new history.
"

I've noticed this more post-COVID than ever. It isn't always the COVID absences, but feels especially icky when it is and  they have to be away for an extended leave. Curiosity is one thing, and cheering on an understudy is another, but when it becomes a game of The Understudy is Better it just feels so inappropriate.

[BrodyFosse123]

Posted: 4/1/22 at 10:29am

See what I mean?  The mainstream masses are enjoying Beanie and this revival. Baffling they truly can’t see the hiccups.

[CarlosAlberto]

Posted: 4/1/22 at 10:32am

BrodyFosse123 said: "See what I mean? The mainstream masses are enjoying Beanie and this revival. Baffling they truly can’t see the hiccups.

"

They can't even spell FANNY correctly! Gurl bye!

[QueenAlice]

Posted: 4/1/22 at 10:52am

I have sat next to audience members who hoot and holler and 'woo-hoo' after each song, only to rip every element to shreds as they walk out of the theatre.  Audiences today are largely in it for  themselves and their exaggerated experience rather than their authentic enthusiasm for anything on stage.

[dramamama611]

Posted: 4/1/22 at 11:04am

"WE" are not the masses.  And that's fine.  If it's working for people then maybe the cast will get to keep their jobs for a good while.  

Those of us here do have a tendency to be hyper critical - and I don't mean that in a bad way.   

[BrodyFosse123]

Posted: 4/1/22 at 11:10am

Again, I loved the revival, including Beanie’s book scenes, etc.  My only sour note was her vocal limitations on THE songs.  She was good enough on the comic songs and will get those even better once she has weeks under her belt.  

[Owen22]

Posted: 4/1/22 at 11:21am

BrodyFosse123 said: "The way the audiences are responding after Beanie’s songs, you’d think Streisand was performing. The analyzing chatter/talk is with the savvy Broadway bunch. The mainstream masses are LOVING every single moment. Oddly, they even are cheering when Beanie is painfully reaching the final sections of “Don’t Rain on My Parade.” Their excitement is completely clouding their little heads. Even on social media, you’d think Jennifer Hudson had played Fanny at their performance. No one is walking out, not a single cell phone went off and not even random coughers. They were engulfed in the show. Creepy, but true."

Oh you f'ing people, I swear.

Why, why, WHY would that be "creepy"???

The "mainstream masses" are the people they are doing the show for! Not for or the elitists who supposedly know Beanie is doing it "wrong"-- not for the people posting here on Broadway World. Especially not for the people posting here on Broadway world!

This is a hard role. To absolutely kill, one has to be a clown, a serious dramatic actress, and I great singer--all-in-one! From her work in Dolly, and what I've seen of her film and TV work, Beanie seems quite capable of the first two. Making people laugh and then turning around and making them cry is what the audience responds to (and seemingly why audiences are cheering for Beanie). Great singing isn't necessary. (Now, If one can do all three in the role, then you become a legend!)  But what you need for Fanny most is the clown part. And she is obviously quite capable, as was Sheridan Smith.

 

[bwayphreak234]

Posted: 4/1/22 at 11:25am

Owen22 said: "Great singing isn't necessary. (Now, If one can do all three in the role, then you become a legend!) But what you need for Fanny most is the clown part. And she is obviously quite capable, as was Sheridan Smith."

I could not disagree more with this statement, and would in fact argue that the opposite is true.

 

[SisterGeorge]

Posted: 4/1/22 at 11:52am

Bettyboy72 said: "RippedMan said: "i did a deep dive tonight on the show. I read all the glowing reviews of the Sheridan Smith / Mayer directed West End show. And then watched it on YouTube. Not sure I get the hype. She's fine, but - and maybe it's lost in a West End thing and maybe that's why they didn't feel the need to bring her over - I didn't get the hype. But then I stumbled across Ms. Stephanie j. Block doing the show in 2001 and THIS (!!!) is what I expect from a Fanny. Sorry not sorry. She's perfection.

https://www.youtube.com/watch?v=RcLURceSkbs



This seems to be the same year as Kritzer! How fun. I KNOW the talent is out there. So why did we get this?"

I saw SJB in concert with Seth. She said she thought she had the last proposed revival in the bag. Then it was announced Lauren Ambrose was attached after she had pretty much been told it was a done deal. She was really upset about how she was treated. She was not upset when the financing went belly up."

SJB sang Don't Rain on My Parade a few weeks ago at the Kennedy Center 50th Anniversary Broadway concert and she dazzled the audience. Talk about a tease.

[fbueller]

Posted: 4/1/22 at 12:07pm

What is Lauren Ambrose doing these days?  She is a little older now but with some makeup…

[SisterGeorge]

Posted: 4/1/22 at 12:10pm

QueenAlice said: "I have sat next to audience members who hoot and holler and 'woo-hoo' after each song, only to rip every element to shreds as they walk out of the theatre. Audiences today are largely in it for themselves and their exaggerated experience rather than their authentic enthusiasm for anything on stage."

I was at a nice, not great, ballet performance last night and it seemed that every time the ballerina got on point or the male dancer jumped there was thunderous whooping and hollering and applause. Yep, audiences seem to feel like they too have to perform and have been trained to over-react to everything by years of watching AI and SYTYCD. My question is, do performers who receive this extreme form of adulation flattered/grateful or do they realize it's way over the top? 

[DearTheodosia]

Posted: 4/1/22 at 1:06pm

[DearTheodosia]

Posted: 4/1/22 at 1:06pm

[DearTheodosia]

Posted: 4/1/22 at 1:08pm

Auggie27 said: "Those of us who don't sing, and have no knowledge of how voices train -- both to land specific music and endure over a run -- would appreciate any information experts can share here.

Two narratives are emerging about Funny Girl: 1) it's early, and Feldstein will negotiate the score more successfully with more performances, better understanding of the demands, and acquired stamina; and 2) she's had months to train, weeks to rehearse, and she's using the instrument she's got: taxed thus, this is her Fanny. I suspect the reality is between these two poles, but would welcome any specifics about the mystery (to the rest of us) of singing. One can surmise that she's worked with a private coach -- maybe Fierstein sent her to industry's best, Joan Leder -- and the musical director on the matter of keys. Wouldn't keys be determined early? Adjusted as the show began to work in earnest?

How much can a singer "improve" simply performing a set of songs 7-8 times a week? It's a question, and a serious minded one. I return to the LuPone memoir, in which she explained in detail what it took for her to learn to sing Eva six times a week, never mastering it (to her own satisfaction or more importantly, comfort) until she played in Australia. She was taught to sing on "her interest, not her capital." But LuPone learning how to sing a score set in the passagio six times a week -- she had a stunningly agile instrument -- seems a very different issue than Feldstein's challenge. Again, a layman's guesswork and set of questions."

I'm not an expert or a vocalist, although I am a professional musician and music teacher, so I have a lot of thoughts about performance and musical growth in general. I think you pose an interesting question about how much a performer could improve during previews or even a run of a show. I've seen so many people talking about Katrina Lenk's continuing growth in her role in Company, and I feel like I may have even witnessed some of that in the short time between the February and March performances that I saw. It seems that it would really defend on the individual performer's capacity for evolution and adaptation. Some people may just set a standard and make choices for their performance and repeat the same performance over and over, and some of those performers might be some of the best and strongest. (Aaron Tevit comes to mind.) Other, equally great performers, might constantly 'tweak" and refine what they are doing, which I find infiinitely more interesting.From what you describe from Patti LuPone's memoir, it sounds like she's of the latter sort. (And your description of the memoir makes me want to read it right away!) All of that being said, it seems as vocalists, you do have to deal with your God-given instrument, even with lots of training. It seems like Beanie has a limited instrument. But if she manages to really do something special with the music and the role, even with that limited instrument, I could really enjoy that, personally.

[YettaTelebenda2]

Posted: 4/1/22 at 1:53pm

Would producers risk so much money by going with an average talent? It sounds like audiences are loving her. I think they should have had an audition process, but whatever... 

I saw Barbra Streisand in it in 1964, I still have that Playbill! I was not blown away. I remember thinking: where's the spark? I was however blown away by her TV special: My Name Is Barbra. 

I will tell you this: the best show I ever saw in my entire life was Hello Dolly, in 1964?, with Carol Channing. it was  exhilarating. There were others who did it and were fantastic: Pearl Bailey, Bette Midler... 

So let's see how Beanie does... She may surprise everyone and win a Tony. I guarantee she is nominated. 

eta: Most audience members do not analyze a "vocal instrument." They sit and enjoy the excitement of the show. 

[RippedMan]

Posted: 4/1/22 at 2:27pm

It worked for Sheridan Smith. That show was a big hit in the West End. But, this is a very American, Broadway show. So I wonder if US audiences are more critical of her singing? I guess we will see. 

And I'm sure audiences are enjoying. It's the first revival. People are excited. Give it a few months to see if people are returning, word-of-mouth, etc. 

As for Auggie's point, two things can be true. I think you can grow in the part vocally and be more comfortable. But I don't think the quality of the singing is going to change. Beanie isn't going to become a Lupone over the course of a few weeks. She may be able to find better placements to sustain 8x a week, but I don't think the nasal quality is going to change. That's just her voice. 

[joevitus]

Posted: 4/1/22 at 3:00pm

YettaTelebenda2 said: "Would producers risk so much money by going with an average talent?It sounds like audiences are loving her. I think they should have had an audition process, but whatever...

I saw Barbra Streisand in it in 1964, I still have that Playbill! I was not blown away. I remember thinking: where's the spark? I was however blown away by her TV special: My Name Is Barbra.

I will tell you this: the best show I ever saw in my entire life was Hello Dolly, in 1964?, with Carol Channing. it was exhilarating. There were others who did it and were fantastic: Pearl Bailey, Bette Midler...

So let's see how Beanie does... She may surprise everyone and win a Tony. I guarantee she is nominated.

eta: Most audience members do not analyze a "vocal instrument." They sit and enjoy the excitement of the show."

Streisand HATED being on Broadway. After opening night, she was bored. She fiddled with her performance all the time, and it's been said that unless one saw her opening or closing night, one likely as not saw a sub-par Barbra. 

[BrodyFosse123]

Posted: 4/1/22 at 3:09pm

Also, Streisand had 3 different versions of the show she’d perform: Version A (full show) — Version B (2nd verses cut from songs), and Version C (shorter scenes) were generally done at matinees.  The half-hour backstage announcement would state which version so the cast knew which one they were about to perform.  The late Bob Avian was a swing in the dance ensemble and confirmed all this.  

[QueenAlice]

Posted: 4/1/22 at 3:29pm

Mimi Hines also did the 3 different versions of the show. No matter, they were both superb vocalists.

[RippedMan]

Posted: 4/1/22 at 3:39pm

BrodyFosse123 said: "Also, Streisand had 3 different versions of the show she’d perform: Version A (full show) — Version B (2nd verses cut from songs), and Version C (shorter scenes) were generally done at matinees. The half-hour backstage announcement would state which version so the cast knew which one they were about to perform. The late Bob Avian was a swing in the dance ensemble and confirmed all this."

That's actually so fascinating. And such a diva power move that would never be tolerated today. But I'm here for it. I did a children's touring show and we had diff version depending on how the kids were behaving, ha. 

[CarlosAlberto]

Posted: 4/1/22 at 3:41pm

BrodyFosse123 said: "Also, Streisand had 3 different versions of the show she’d perform: Version A (full show) — Version B (2nd verses cut from songs), and Version C (shorter scenes) were generally done at matinees. The half-hour backstage announcement would state which version so the cast knew which one they were about to perform. The late Bob Avian was a swing in the dance ensemble and confirmed all this."

So basically matinee audiences at that time got gipped and got to see an abridged show and not the full show they paid for because the poor, poor star was bored?. How very, very deceitful, selfish and unprofessional.

[QueenAlice]

Posted: 4/1/22 at 3:49pm

I don't think it was about the star being bored, it was about the star maintaining 8 shows a week. Today they likely would have just had a matinee alternate. But that was an unknown concept at the time. Gwen Verdon and others also adopted this practice Today, audiences would probably welcome it. Everyone wants to be home by 10 .

[Jordan Catalano]

Posted: 4/1/22 at 3:51pm

If that was attempted today, I’d guess more than half the people here would scream how it’s their right to do it that way and how dare we assault them for doing what they feel they’re able to do and all that jazz you hear as excuses. 

[BrodyFosse123]

Posted: 4/1/22 at 3:53pm

Indeed about Gwen.  Some performances of SWEET CHARITY she would cut “Where Am I Going?”, a number she wasn’t fond of performing.