FUNNY GIRL on Broadway - Reviews & News Thread — Page 39

Elena Roger did not with the Olivier for Evita. She won a few years later for Piaf. She was also nominated for Passion.

For those who have never seen the Streisand TV special from 1965, this is the memory many of us have of it.

Regarding Klausner / Lupone, as I understand it, there was at least some conversation about replacing LuPone once she began having vocal difficulties with the role out of town, though if she had been replaced, I suspect the producers would have seized the opportunity as an excuse to bring Elaine Paige over. I doubt they would have elevated Klausner to the part full time.

LuPone, however was a Julliard trained actress with major craft, experience and teaching, and Hal Prince thought she could find her way into the part. The test here is that Benie Feldstein has apparently very little training and experience headlining a play or musical. No doubt she will improve in ways, but she also risks things like vocal damage that might take her back. Only time will tell how she rises to the occasion.

And, reminder, Hines sang Fanny without a body mic. What's notable about that shortened version: it's shorter, but doesn't sound any easier with that ending.

There’s a story about Barbra’s mic during “Funny Girl”, isn’t there? It escapes me now, but I’m pretty sure there’s some famous backstage story about it…

QueenAlice said: "Elena Roger did not with the Olivier for Evita. She won a few years later for Piaf. She was also nominated for Passion.

For those who have never seen the Streisand TV special from 1965, this is the memory many of us have of it.

"

since LuPone and her vocal issues during EVITA have been mentioned I need to ask this: In the show proper when she sings Buenos Aires she goes high for the last “Just a little touch of star quality!” but on the recording she goes way low. Why did they change it for the recording or am I mistaken and they decided to change it after the recording?

YettaTelebenda2 said: "Shower Singer said: "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."

Auggie - The LuPone/Feldstein comparison isn't really apples to apples. LuPone was in a show that was sung through from start to finish, so her challenge was pacing and endurance. Her voice was already amazing, it just took her time and some coaching to figure out how to make it through six shows a week singing basically for two hours straight - much of it at full voice/belting (and often pretty high). Her tone was very good to begin with and she wasn't suffering from pitch issues - it was about being in shape physically, vocally, and mentally to get through a much more grueling role than Fanny.

Beanie's voice isn't anywhere near as good as Patti to begin with, so while she will likely improve a little with time (she'll figure out where to breathe, how to "cheat" notes when the chorus is singing behind her, and, like weight lifting, with repetition, she'll get stronger so will -hopefully- be able to better support all of her notes), changing her tone is much more difficult. Having heard her on recordings pre-Funny Girl and then again at the performance Monday of this week, it does sound like she's not QUITE as nasal, but she still sings in the back of her throat and through her nose, making for a very "pinched" or "tight" nasal sound. A good coach could probably make some headway with this but it would take a lot of time. Hopefully she's working on it and will continue to improve, but it's very hard to retrain someone how to sing - particularly when someone has been doing it a certain way for so long. Keep in mind that during previews they're still likely to be rehearsing a few hours during the day, then performing the show at night, so it makes for a long, vocally stressful day. Once they freeze the show and they're not rehearsing during the day, she'll be able to rest her voice during the day and that may help a bit - but unfortunately won't change the nasal quality.

People keep commenting that they need to change the key of the score and I didn't see that as an issue. She's not having any trouble hitting the notes - as a matter of fact, her "money notes" were better than most of the rest of the song. The problem isn't with the key - they've been in rehearsal for weeks. If the key was the issue, it would have been fixed before previews.

Will there be some improvement? Probably - but it's likely to be minor. Will it be enough to satisfy those who are looking for a crystal-clear tone and a strong belt (and will she ever be considered a great singer)? Probably not.

Again, I don't think most people notice (although for anyone with even a small amount of musical training, it's pretty painful), so for the vast majority, it won't matter, but for those of us who expect more from Broadway, it's a disappointing outcome."

Most people in an audience do not analyze "the instrument" or the keys like this forum does. They go to have a good time and be entertained. Beanie will be fine and honestly, it will be enough to recall the music and enjoy the experience.

This will receive mixed reviews and Beanie will get a Tony. She got the part... so let's see."

Says you but from what I'm reading on BWW and hearing from our industry friends and a top musical theater agent friend that lives next door that she's just not a Fanny and can't handle the vocal demands of the score AND she's not winning the Tony! I personally can't comment as we don't see the show until May but we shall see?

Sutton Ross said: "Anyone saying she will WIN a Tony is beyond delusional. Yikes."

If this word of mouth continues, I wouldn’t be surprised if she wasn’t even nominated.

Sutton Ross said: "Anyone saying she will WIN a Tony is beyond delusional. Yikes."

TIL that Beanie Feldstein has a stan.

Sutton Ross said: "Anyone saying she will WIN a Tony is beyond delusional. Yikes."

I stand by what I said. Regardless of what industry professionals say, I think this will get good reviews and Beanie will win a Tony.

YettaTelebenda2 said: "I stand by what I said. Regardless of what industry professionals say, I think this will get good reviews and Beanie will win a Tony."

Uh... have you seen the performance?

YettaTelebenda2 said: "Sutton Ross said: "Anyone saying she will WIN a Tony is beyond delusional. Yikes."

I stand by what I said. Regardless of what industry professionals say, I think this will get good reviews and Beanie will win a Tony."

As others said, she’ll be lucky to get a nomination. I will keep saying it, I think this will turn into a Elena Roger scenario with no Tony nomination.