For nearly 50 years, theatre and movie audiences knew about the late vaudeville comedienne Fanny Brice through the memorable portrayal of her by Barbra Streisand in the 1964 hit Broadway musical "Funny Girl", and the subsequent 1968 film version (which earned Streisand an Oscar for Best Actress). If it wasn't for that -- and if you never heard old recordings of her 1930s radio comedy series "Baby Snooks" or seen one of her rare filmed appearances, such as MGM's "The Ziegfeld Follies of 1946"-- then Fanny Brice would, for most part, be largely forgotten.
To launch its 2015-2016 season, the Segal Centre for the Performing Arts has decided to stage an ambitious production of "Funny Girl", and it succeeds tremendously by offering a lively, highly-spirited show that focusses on Fanny Brice, the superstar of the Ziegfeld Follies during the 1910s and 20s, rather than how she was seen through Streisand's legendary portrayal.
Although the role of Fanny Brice is automatically associated with Barbra Streisand, Gabi Epstein does a remarkable job in the lead role. The best thing is that she doesn't emulate Streisand, but recaptures the spirit of the actual Fanny Brice (in fact, at the beginning of act two, there was I moment I thought Ms. Brice actually came back to life!). We see Fanny Brice as the product of New York's teeming Lower East Side neighborhood at the turn of the 20th century, who through her brassy, self-deprecating sense of humour, transformed herself from an awkward vaudeville chorus member to the comedienne who became the toast of Broadway. Also, we see the personal side of Brice, as she struggles to balance a successful showbiz career with her on-again, off-again marriage to notorious gambler Nickie Arnstein, which provides a lot of joy and heartbreak for her. If that was Ms. Epstein's intention when she approached the role, then she passed with flying colours.
The set design is simple, yet effective; they consist mainly of a series of rolling racks of clothing and costumes, and within an instant, can magically transform itself from a backstage dressing room in a Broadway theatre, to a train station ticket window, to an East Side tenement, to a Long Island mansion. What I found striking about the set design is the life-sized, unblemished, full facial photo portrait of the real Fanny Brice that was taken at the height of her fame, which practically dominates the backdrop. It's almost like she is watching over the production as its conscience, making sure that Ms. Epstein and company are doing justice to the story of her life. As well, the costumes are great and the lively musical numbers really gives you a sense of the golden age of vaudeville in America as seen through the life and career of one of its funniest and brightest stars. It's now playing at the Segal Centre until November 8. Don't miss it! For more information, or to purchase tickets, go to www.segalcentre.org.
