#26
Posted: 2/18/11 at 12:42am
Ftworthguy, I saw her play Fanny Brice too, and I totally agree with you. She is truly amazing! I'm SO happy to hear that she's in the mix.
Funny Girl Revival — Page 2
#27
Posted: 2/18/11 at 12:50am
I really can't imagine Lea not doing it.
And I completely disagree about her not having the comic chops? I think her comedic moments on Glee are hilarious.
And I completely disagree about her not having the comic chops? I think her comedic moments on Glee are hilarious.
#28
Posted: 2/18/11 at 2:15pm
If you are referring to the 2009 production presented by the incredible Lyric Stage, I couldn't agree with you more. The woman who played Fanny Brice is Kristin Dausch. Remember her name because she is a star in the making. I listened to everyone chatting during intermission and it was obvious that I was not the only one mesmerized by her. I would love to see the revival of "Funny Girl" do for Kristin what it did for for Barbara Streisand. The show served as a showcase for Streisand's enormous talent. I want Kristin to have that same opportunity because she's got the talent and then some. Something tells me that even Barbara would agree. Not only can Kristin sing, but her expressions and mannerisms were so perfect for the role of Fanny. Last night, I had the pleasure of seeing Kristin Dausch perform again in Kander and Ebb's "Flora the Red Menace". Let me just say that Kristin can sell a song like nobodies business. I must also add that the entire cast was marvelous. The Lyric Stage's founding producer, Steven Jones, is a remarkable man. He and his very talented actors, crew, musicians, and back office staff are as good as it gets. The Lyric Stage does something that will make New Yorker theater lovers green with envy; thanks to Steven Jones and musical director/conductor, Jay Dias, they have brought back the concept of having a full orchestra for their shows, complete with the original Broadway orchestrations. We forget just how rich and powerful having a full orchestra (all dressed in tuxes) makes the original scores sound. I know that New York theaters wanted to save money so they have minimal orchestras for their shows, with the exception of Lincoln Center's recent revival of "South Pacific" However, in Dallas, the audience supports their musical theater. It just proves that if you give an audience the best that you can give them, they will respond in kind by making generous donations and/or supporting the shows by purchasing tickets. Keep up the great work Lyric Stage! By the way, I am in no way affiliated with anyone at the theater. I am merely a supporter who loves outstanding musical theater.
#29
Posted: 3/15/11 at 11:25pm
Bumpin this thread just so I can watch it chatter!
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#30
Posted: 3/15/11 at 11:32pm
If the show is trying out in LA, that seems to point towards it becoming a vehicle for Lea Michele. They could accomodate her filming on Glee, and she'd be done just in time for the show to go to Broadway (Ryan Murphy has said he intends to "graduate" the kids at the end of next season and re-cast their roles).
Hopefully I'm wrong, but that seems like the obvious play at this point.
Hopefully I'm wrong, but that seems like the obvious play at this point.
#31
Posted: 3/15/11 at 11:49pm
God help us.
Lea Michele has talent to fill a thimble. She is NOT a star. Without a revised book and some clear, sharp-eyed direction, FG is going to be as mediocre as the recent Promises, Promises revival.
And are there any other roles in the show that are interesting? No. That means you are not going to get stars to do them.
Lea Michele has talent to fill a thimble. She is NOT a star. Without a revised book and some clear, sharp-eyed direction, FG is going to be as mediocre as the recent Promises, Promises revival.
And are there any other roles in the show that are interesting? No. That means you are not going to get stars to do them.
Do you know what happens when you let Veal Prince Orloff sit in an oven too long?
#32
Posted: 3/15/11 at 11:57pm
If anything, those dates suggest to me that it would be difficult for Lea Michelle to do this. According to the article it is set to open January 14, so rehearsals are probably going to begin sometime in November. I would assume at that point Glee would be in the midst of filming. That would be pretty difficult to accommodate the rehearsal/filming schedule for Glee with the rehearsal and then performance schedule for a major Broadway bound revival, especially when you are talking the star role who carries the show.
Now, I could be wrong and Glee could be finished filming its season by November, but I've never heard of a TV show filming episodes that far in advance.
Now, I could be wrong and Glee could be finished filming its season by November, but I've never heard of a TV show filming episodes that far in advance.
#33
Posted: 3/15/11 at 11:58pm
Having the show try out in Los Angeles is in no way a "play" to accommodate using Lea Michele. Bob Boyett has a previous relationship with Center Theater Group. For as long as he's held the rights to the show (which is well over ten years,) his plan has always been to produce it in LA prior to Broadway. In fact, he's also gone on record dismissing the likelihood of Michele being cast, so take that for what you will.
Besides, as AEA AGMA SM has wisely pointed out, the dates this revival will be in production fall into the prime time Michele wouldn't be available as rehearsals begin in November in advance of a January start. GLEE films from July through April, and considering how much rehearsing and recording is involved outside of the actual shooting dates, the schedule is in no way accommodatable.
Besides, as AEA AGMA SM has wisely pointed out, the dates this revival will be in production fall into the prime time Michele wouldn't be available as rehearsals begin in November in advance of a January start. GLEE films from July through April, and considering how much rehearsing and recording is involved outside of the actual shooting dates, the schedule is in no way accommodatable.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
Updated On: 3/16/11 at 11:58 PM
#34
Posted: 3/16/11 at 3:51am
"
It would depend on how much time it takes to film GLEE's third season. Ryan Murphy stated that he will more than likely use season three as the last with the current cast for they will all be graduating."
Did he say this? I would hope so--even though the show under him has been a mess for a long time, but in other interviews he joked that they would remain with this cast as long as possible and he wasn't worried about the realities of what grade they were meant to be in (which is true enough we've seen...) Of course Murphy changes his mind about things on the smallest of whims, so who knows...
I'd love a Funny Girl revival but I think it's a hard show to do well, even if one doesn't think about the shadow of Babs. I always find the musical fascinating, not just cuz it has so much great material, but I can't help thinking in a way Styne wanted a followup to Gypsy (Sondheim was asked to do the lyrics at one point, and of course Jerome Robbins was repeated tied to directing it--in the end I believe he did a tiny bit of show doctoring but not really enough as he could have). It's just a clunky show in many ways, and needs a great star *and* a director with vision to work. (And I'm in the minority, it seems, that I don't think the movie really improves on this by focusing more on Fanny--and it's not just sour grapes because they cut two of my fave ballads, I swear...)
It would depend on how much time it takes to film GLEE's third season. Ryan Murphy stated that he will more than likely use season three as the last with the current cast for they will all be graduating."
Did he say this? I would hope so--even though the show under him has been a mess for a long time, but in other interviews he joked that they would remain with this cast as long as possible and he wasn't worried about the realities of what grade they were meant to be in (which is true enough we've seen...) Of course Murphy changes his mind about things on the smallest of whims, so who knows...
I'd love a Funny Girl revival but I think it's a hard show to do well, even if one doesn't think about the shadow of Babs. I always find the musical fascinating, not just cuz it has so much great material, but I can't help thinking in a way Styne wanted a followup to Gypsy (Sondheim was asked to do the lyrics at one point, and of course Jerome Robbins was repeated tied to directing it--in the end I believe he did a tiny bit of show doctoring but not really enough as he could have). It's just a clunky show in many ways, and needs a great star *and* a director with vision to work. (And I'm in the minority, it seems, that I don't think the movie really improves on this by focusing more on Fanny--and it's not just sour grapes because they cut two of my fave ballads, I swear...)
#35
Posted: 3/16/11 at 5:55am
Whatever you think about Lea, you can't deny the fact that thanks to Glee she's got a huge following, and if I were producing this in the current economic climate I'd go for the girl with the fan base and not an unknown. I actually think she'd be quite good in the role.
#36
Posted: 3/16/11 at 7:23am
If the show is trying out in LA, that seems to point towards it becoming a vehicle for Lea Michele.
Having the show try out in Los Angeles is in no way a "play" to accommodate using Lea Michele. Bob Boyett has a previous relationship with Center Theater Group.
In addition to this, the whole thing is a Broadway tryout. Why would they actively choose to go with an actress in LA whom they know cannot do it on Broadway due to scheduling conflicts?
Having the show try out in Los Angeles is in no way a "play" to accommodate using Lea Michele. Bob Boyett has a previous relationship with Center Theater Group.
In addition to this, the whole thing is a Broadway tryout. Why would they actively choose to go with an actress in LA whom they know cannot do it on Broadway due to scheduling conflicts?
#37
Posted: 3/16/11 at 10:41am
I've been trying to think of a more pointless idea than a Broadway revival of Funny Girl, and it's difficult. It's an interesting show, but one that requires a gal who could become not just a working performer, but a mega-star. That means she has to be an unusual phenomenon, not just capable. And I don't think Sher or any current working casting director have shown that they're able to find someone like that.
Any summer theatre can mount a production with a gal who can belt and deliver jokes; I've seen three in the past 30 years (as well as two other productions with inept gals as Fanny). But I just can't imagine lightning striking twice with this vehicle.
If someone wants to make a star, it might be advisable to first find that amazing performer and create the show around her that focuses on what she can do (like the way Funny Girl was created FOR Streisand).
And worrying about being true to Fanny Brice is moot - Funny Girl is as true to Fanny Brice as Mr. Ed is to horses.
Any summer theatre can mount a production with a gal who can belt and deliver jokes; I've seen three in the past 30 years (as well as two other productions with inept gals as Fanny). But I just can't imagine lightning striking twice with this vehicle.
If someone wants to make a star, it might be advisable to first find that amazing performer and create the show around her that focuses on what she can do (like the way Funny Girl was created FOR Streisand).
And worrying about being true to Fanny Brice is moot - Funny Girl is as true to Fanny Brice as Mr. Ed is to horses.
#38
Posted: 3/16/11 at 10:50am
I think the "new Carol Burnett" would be perfect!
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#39
Posted: 3/16/11 at 10:50am
Well no FUNNY GIRL wasn't written for Streisand - she was in fact a pretty late entry after the vehicle passed from Mary Martin to Anne Bancroft to Carol Burnett to Edie Gorme....
But it is true that Styne (who wanted Streisand all along) definitely patterned the score especially with her in mind (so much so that Anne Bancroft heard it played once and said 'no way.')
But I agree with everything else you say newintown. Streisand and the show was one of those perfect storm events that can't really ever be replicated with that musical. The producers didn't even have to 'find' her - it was just ultimately so obvious that Streisand (a once in a lifetime talent) as a rising talent was the ideal choice to echo the story of Brice
(also a once in a life time talent, though as you say, in truth pretty different from Streisand. Brice wouldn't have been cast in her own life story as the musical was written.)
But it is true that Styne (who wanted Streisand all along) definitely patterned the score especially with her in mind (so much so that Anne Bancroft heard it played once and said 'no way.')
But I agree with everything else you say newintown. Streisand and the show was one of those perfect storm events that can't really ever be replicated with that musical. The producers didn't even have to 'find' her - it was just ultimately so obvious that Streisand (a once in a lifetime talent) as a rising talent was the ideal choice to echo the story of Brice
(also a once in a life time talent, though as you say, in truth pretty different from Streisand. Brice wouldn't have been cast in her own life story as the musical was written.)
Updated On: 3/16/11 at 10:50 AM
#40
Posted: 3/16/11 at 10:55am
When Leslie Kritzer did it at Paper Mill (in a production Boyett himself wanted to move to Broadway,) she delivered the kind of Times review and overall buzz that is exactly what they'll want for a big revival of the show. Given her consistently stellar work, phenomenal voice, and absolutely unique comedic ability, she's capable of making bold enough choices that would create a wholly original Fanny Brice far from the Streisand mold, which is essential.
Of the current crop of talent, she's far and away the best choice. Critics have been saying she should be a "star" for years, and this could very well be the vehicle to make that happen.
Of the current crop of talent, she's far and away the best choice. Critics have been saying she should be a "star" for years, and this could very well be the vehicle to make that happen.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
Updated On: 3/16/11 at 10:55 AM
#41
Posted: 3/16/11 at 11:03am
I'm going to debate you somethingwicked and say that I thought Kritzer was really underwhelming in that production. For a regional theatre production, she was fine. Maybe with a better director, she would give a less forced performance, but Kritzer doesn't have the unconventional glamour that I'm convinced you really need for that role (those that saw Streisand and knew Brice said - that unconventional glamour is the one thing Brice and Streisand really had in common).
I think Kritzer is wonderful and hope she gets her day in the sun, but I think she would fare a lot better in one of the Carol Burnett / Nancy Walker vehicles than FUNNY GIRL.
I think Kritzer is wonderful and hope she gets her day in the sun, but I think she would fare a lot better in one of the Carol Burnett / Nancy Walker vehicles than FUNNY GIRL.
#42
Posted: 3/16/11 at 11:06am
But, MB, I do think it's safe to say that Funny Girl was written for Streisand - yes, it was in development before her participation, but, as you say, Styne wrote with her voice in mind. And after she came on, the show was re-written and tailored around her talents, both in rehearsal and during the out-of-town tryouts.
Updated On: 3/16/11 at 11:06 AM
#43
Posted: 3/16/11 at 11:12am
I would go further, MB, and say that Kritzer would be much better served by a new musical tailored to her persona (which is, I think, still undefined) and talents.
Isn't it always more exciting to see a star created in their own vehicle rather than someone else's? Of course, if you never saw the original, it doesn't matter; but to those who did, the newer performance, no matter how wonderful, will still be compared to another. When you originate a great role, it's yours and yours alone.
Isn't it always more exciting to see a star created in their own vehicle rather than someone else's? Of course, if you never saw the original, it doesn't matter; but to those who did, the newer performance, no matter how wonderful, will still be compared to another. When you originate a great role, it's yours and yours alone.
#44
Posted: 3/16/11 at 11:17am
Michael Bennett, we can certainly agree to disagree, but it should to be recognized that Kritzer was 23 and just two years out of college when that production happened. Ten years later, it's unquestionable that she'd be able to bring a much more finely nuanced take on the role now.
As I said, given how much Bob Boyett loved her, she's certainly going to be a primary contender.
As I said, given how much Bob Boyett loved her, she's certainly going to be a primary contender.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
Updated On: 3/16/11 at 11:17 AM
#45
Posted: 3/16/11 at 12:33pm
Stop this Lea Michele nonsense. It ain't happening. Sher isn't a fan.
#46
Posted: 3/16/11 at 1:23pm
I saw Lea do Eponine in the Les Mis concert at the Hollywood Bowl a few years ago and we ALL were like "who the hell IS this girl!?!? Wow!! At the time, I would have said "she HAS to play Fanny Brice". But after watching a few seasons of Glee and watching how she is in interviews, I think she's fallen into the horrible trap of being impressed with her own talent - almost the way Streisand has. I know that's part of her character on the show, of course. But even when she's singing a song about heartbreak that should be character driven, I've started feeling like her goal was to show off her pipes and her skill as a powerhouse singer. Fanny has to be SO INCREDIBLY vulnerable for this role to truly work. I don't know that Lea allows herself to BE vulnerable in the way she'd need to, to pull this off from an acting standpoint. She's just become a bit too impressed with herself, I'm afraid. When I recently heard about a working actor who ran into her on the lot where they film Glee and asked for an autograph and was turned down in what was reported to be a very bitchy way, I lost all respect. For the record, I was a cast member on a star driven show for two seasons, and our biggest star in the show, with the ENTIRE show on his shoulders, NEVER turned down an autograph. NEVER. Nor did he EVER not stop to talk to ANYONE on the lot that complimented him or wanted to meet him. Always generous. Always gracious. Always kind. THAT is a true star, if you ask me.
And my hope for Lea is that with her extraordinary talent, that she'll realize that following in Streisand's footsteps and losing her humanity WILL cost her in the long run, because she'll never truly BE an actress of any great merit if she can't be vulnerable.
And my hope for Lea is that with her extraordinary talent, that she'll realize that following in Streisand's footsteps and losing her humanity WILL cost her in the long run, because she'll never truly BE an actress of any great merit if she can't be vulnerable.
#47
Posted: 3/16/11 at 1:28pm
Leslie Kritzer is the one who needs to do this show.
And I have spoken.
And I have spoken.
"Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love. If you look for it, I've got a sneaky feeling you'll find that love actually is all around."
#48
Posted: 3/16/11 at 1:30pm
How about a lifetime movie about Barbra Striesand starring Lea Michele and then in the segment where she makes the movie of HELLO DOLLY, Leslie Kritzer can play the actress who played Ernestina Simple?
#50
Posted: 3/16/11 at 3:42pm
This was too god not to re-post:
Imagining Lady Gaga appealing to Bartlett Sher not to cast Lea Michele as Fanny-
Tune of DON’T RAIN ON MY PARADE
Don’t tell me that it’s hers
I’ll spit and sputter
She has no comic chops
The show will shutter.
Don’t go with Miss Michele
She’ll ru-in your parade!
Come on, give me a try
You simply must now.
If no is your reply
I’m gonna bust now
Your world will be such hell
She’ll ru-in your parade
You’ll watch her bland out
That perfect role.
If it’s not planned out
You’re sure to see, sir.
A sad and sorry saga.
Me, sir?
With me they will go gaga
Oh honey you can bet
That I’d be scorchin’
Boyett is gonna get
A freakin’ fortune
The tears of joy will flow like fountains from his eyes
I gotta do this,
Don’t put me through this,
I am up to this, Bart, sir.
Ooh, I am climbing
What perfect timing
Come on and play it smart, sir!
(big finish)
Get pushing for me, Bart,
You know you’re gonna
You know it would be smart
You know you wanna -
No, that Berry girl from Glee
Is gonna
Ru-in
Your parade!
Imagining Lady Gaga appealing to Bartlett Sher not to cast Lea Michele as Fanny-
Tune of DON’T RAIN ON MY PARADE
Don’t tell me that it’s hers
I’ll spit and sputter
She has no comic chops
The show will shutter.
Don’t go with Miss Michele
She’ll ru-in your parade!
Come on, give me a try
You simply must now.
If no is your reply
I’m gonna bust now
Your world will be such hell
She’ll ru-in your parade
You’ll watch her bland out
That perfect role.
If it’s not planned out
You’re sure to see, sir.
A sad and sorry saga.
Me, sir?
With me they will go gaga
Oh honey you can bet
That I’d be scorchin’
Boyett is gonna get
A freakin’ fortune
The tears of joy will flow like fountains from his eyes
I gotta do this,
Don’t put me through this,
I am up to this, Bart, sir.
Ooh, I am climbing
What perfect timing
Come on and play it smart, sir!
(big finish)
Get pushing for me, Bart,
You know you’re gonna
You know it would be smart
You know you wanna -
No, that Berry girl from Glee
Is gonna
Ru-in
Your parade!
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