By André Hereford on June 29, 2024 @here4andre
Fanny Brice really was the greatest star, at least at the Ziegfeld Follies. The famously expressive singer-comedian headlined the premier Broadway theatrical revue for years in the 1910s, ’20s, and ’30s, then segued to radio stardom, motion pictures, and a hit-making recording career highlighted by signature songs “Second-Hand Rose” and “My Man.”
But Fanny appeared in only a few films of note, and folks don’t much listen to her music anymore. Her legacy as a performer has largely been supplanted by the popularity of Funny Girl, the musical that’s loosely based on her life and that the whole world associates with a different funny girl from New York City.
As someone who appreciates Fanny, especially her songs, I look to a new Funny Girl — like the touring production of Michael Mayer’s well-received, if rocky, recent Broadway run — to give me more than Barbra. I want to see a portrayal that also evokes Fanny’s talents and singular appeal, in service to Jule Styne and Bob Merrill’s so singable score, and Isobel Lennart’s solid rags-to-riches love story.
Leading the tour, currently in its opening engagement at the Kennedy Center Opera House, Katerina McCrimmon as Fanny Brice gave me what I wanted. Funny, quick, and blessed with powerhouse pipes, McCrimmon is a delight, capturing the verve and oddball confidence that were Brice’s bread and butter, while still creating her own unique Funny Girl.
In her “I’m the Greatest Star,” McCrimmon makes her voice heard, with impressive energy and sustained notes capping Fanny’s debut at Keeney’s vaudeville house. The performer also, on occasion, hits notes that sound like Streisand in a way that’s not displeasing.
Interestingly, to the ears of this former Glee watcher, McCrimmon’s voice never once reminded me of Lea Michele, who established herself as Fanny, replacing Beanie Feldstein in the show’s 2022-23 Broadway run that spawned this tour.
Based on the wigs and make-up, the casting department must have been glad to find someone who could look this much like Lea Michele, but McCrimmon’s Fanny feels like hers. She sings her own “Don’t Rain on My Parade.” And she flows beautifully singing “People,” though that’s the song where her performance, with seeming inevitability, most echoes Streisand’s classic version.
McCrimmon also creates a compelling romantic pair with dashing Stephen Mark Lukas as high roller Nicky Arnstein, Fanny’s lover-turned-husband. They have great timing with their dinner-night repartée — the revised script is by Harvey Fierstein — leading into “You Are Woman, I Am Man.”
Even in Nicky’s low moments, Lukas warmly embodies the charm of this debonair gambler in his top hat and tails, with manicured nails. Fanny can’t resist, and we can see why.
It’s not because he’s the greatest dancer, as Lukas demonstrates in the show’s somewhat discordant take on Nicky’s jazzy “Temporary Arrangement.” Although, the dancing in general is top-notch, with Ellenore Scott’s fun choreography crisply executed by an ensemble that makes all the dancing a pleasure.
Some numbers are saved by the dancing, like the strongly-tapped “Rat-Tat-Tat-Tat.” Izaiah Montaque Harris, playing Fanny’s longtime friend and collaborator Eddie, serves up several exciting solos of Ayodele Casel’s tap choreography.
The tapping registers more clearly than the lyrics at times, with some performers’ vocals muffled in the sound mix. The issue is most noticeable with the esteemed ladies portraying Fanny’s folks from her neighborhood — Mrs. Strakosh (Eileen T’Kaye, who’s fabulous), Mrs. Meeker (Cindy Chang), and Fanny’s saloon matron mother Mrs. Brice (Grammy winner Melissa Manchester).
That wisecracking trio contributes more to summoning the show’s early 20th-century atmosphere than David Zinn’s set, which summons more of a “Really, that’s it?” The array of digitally printed flats and backdrops picturing locations of 1900s New York, from theaters to train stations, suggest there might eventually be a big scenic reveal. No such luck.
The production’s fortune lies instead in its beloved music, Fanny and Nicky’s troubled love story, which feels heartbreakingly genuine in this telling, and, of course, in the show’s great star, McCrimmon, who, with more than a little courage, takes on a second-hand role with first-rate finesse.
Funny Girl (★★★☆☆) runs through July 14 at the Kennedy Center Opera House. Tickets are $49 to $189. Call 202-467-4600, or visit www.kennedy-center.org.
By André Hereford on March 28, 2025 @here4andre
A robust fall/winter for dance in the DMV gives way to a lighter but still bountiful spring, with an impressive variety of utterly inviting events and performances to choose from -- from Decolonized Beatz Indigenous World Pride at Atlas Performing Arts, and international troupe Compañía Medusa exploring queer themes at Dance Place, to several collaborators melding tap dance with different genres of movement and music to keep us swinging all through the season.
ATLAS PERFORMING ARTS CENTER1333 H St., NE 202-399-7993 www.atlasarts.org
Decolonized Beatz Indigenous World Pride -- Celebrating the work of Indigenous storytellers, organizers, and performers, the arts and performance series Decolonized Beatz brings Indigenous World Pride to Arena Stage (1101 6th St. NW) on May 30, and the next day to Atlas with music and dance performances, panel discussions, film screenings, a drag show featuring Lady Shug and Ritni Tears, and a closing dance party with beatz by DJ Rivolta Sata (6/1, Lang Theatre, free admission but registration required) BALLETNOVA CENTER FOR DANCEFredgren Studio Theatre 3443 Carlin Springs Rd. Falls Church, Va. 703-778-3008 www.balletnova.org
By Ryan Leeds on February 23, 2025
Dorothy was right: There's no place like home. Forging a new community partnership with Woolly Mammoth Theater, the Dana Tai Soon Burgess Dance Company will soon have a chance to return to Washington's Chinatown, where the renowned troupe -- now in its 32nd year -- began performing.
"We have a lot of roots that go all the way back when we used to do projects like dancing on the streets there," Burgess says. "It's great to have a season downtown, and we're really excited about cross-germinating the theater audience and the dance audience. I think it's the right audience to understand these pieces because a lot of my works have a storytelling aspect to them."
By Randy Shulman on February 22, 2025 @RandyShulman
I am apologizing to Margaret Cho.
Not for anything I've said over the course of our lively hour-long phone interview one recent Saturday, but for this magazine's past transgressions.
This issue, you see, marks Cho's fourth appearance on a Metro Weekly cover in three decades, and I'm sheepishly begging forgiveness for how we handled the previous headlines, bastardizing her last name for the sake of a pun.
"Cho-Zen."
"On With the Cho."
"Cho Girl."
"It's all good," she laughs, taking it in stride. One thing about Margaret Cho is that she doesn't offend easily, if at all.
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