I saw the matinee on 4/2. I bought tickets for the first week of previews because we love the show (for the show itself) and I’m sure I would go back as it develops, later in the run. I know the work that one sees during a first week is not where they will be five weeks later, let alone five months. At least in most cases…
I am only expressing my perspective, in no way to put down those who may have a different opinion. I think this is a very, very solid revival in both design and talent elements. I can only go off Mayer’s filmed version of his London production, as I much prefer this one for various reasons.
Beanie was the weakest link in the show and overpowered, in spades, by her co-workers, including the set. I am not saying this to be plain mean. I saw her in Dolly! several times and have enjoyed her various film/tv work. I am a “fan” if that means I enjoy her craft and what she brings to the table. This is the problem here; she brings nothing to the table, never mind as the star of the show. I was so delighted when they announced her casting. Perfect casting? No. Though, fresh to the scene and someone you want to win and cross the finish line…
While beautiful and yes, a lovely singing voice (at times) her cute presence about her is not enough as she has been swallowed up by this role. It was painful to watch because she was giving 110%. I don’t blame her, I blame the producers for casting her. She is truly being swallowed up and left to grip for balance…
…. she was terrible. I sat down with an open mind, knowing I was going to see a different interpretation - not Streisand and not Leslie Kritzer (fabulous). I hoped to see Beanie’s strength, even if it’s not what we all have stamped in our memories from the film or original production. With that said, her acting was just as poor, if not worse than any high school or community level I have ever seen. The overture dazzled and then she made her entrance; I have never in my 31 years of theatre attendance been more turned- off by someone’s first 20 seconds of their performance. No doubt it’s only the first week and she must be nervous. Unfortunately, there was no shift or improvement for the rest of the show.
Again, her vocals are a very mixed bag. There is a beautiful vibrato and she does have power on her final notes but not at the level that one should be carrying this score, let alone 8 times a week. Had her acting made up for her severe pitch problems if she were giving a focused interpretation, I would have bought it. Example: Tyne Daly in Gypsy.
I am embarrassed to say that I felt nothing after each of her numbers. People is staged terribly, walking off and leaving him at the table as she stands facing out (directors fault, not hers). As for Parade, I didn’t see what she was so passionate about because there had been no emotion or sparks prior to her prompting this song.
Ramin, both charming of looks and voice, played Nick very well though stronger in the second act. The same can be said for Lynch and Grimes. Both brought a spark to their scenes and Grimes is adorable in his supporting role. Excellent tap skills!
The set was lovely, more so, the lighting design. For a smaller ensemble, I thought it worked well for the production and the scenic design fit the space nicely. I will say, I wish the set of each Follies number was expanded in a grander manner. The cylinder structure in the center, which opens and rotates is effective and works fine.
Harvey has done a fine job tweaking and adding here and there without making you notice the book has been adjusted.
Back to Beanie: Her acting is not enough to drive the songs forward. As others have stated, she can sing and the higher register is not effective for most, if not all of the numbers. Everything sounds the same, no emotional shading or color. Her BEST (in my opinion) was Rat-Tat-Tat and literally the last four minutes of the final reprise. Rat-Tat gave us a full flash of what I consider to be her strongest charms. That cute charisma and “can do” attitude that set her apart from the rest, at least for the few minutes of that number.
The last four minutes of the reprise, at the end, was her strongest. It wasn’t so much about the tears, as they were coming from a genuine and connected place. She became honest and alive for those few moments. I saw her vulnerability, insecurities, and drive right before the ending. My issue was that it was 2 hours and 35 minutes too late. I honestly feel she made me care about her a character and Fannys purpose about 4% out of 100.
When the other performers become the spine of the show and the one playing “Funny Girl” is not the driven focus, this is not a good thing. I won’t take away the fact that a majority of the audience laughed and chuckled, I loved the supporting energy. However, even my opinion aside, I do question if the laughs coming from the older patrons were that if recognition for the famous lines (thanks to the film) rather than the one executing them on stage.
Fingers crossed for Beanie and the production to have a healthy run. I will return again for the show itself.
