let's talk about FUNNY GIRL... | breaking down the reviews of Beanie Feldstein as Fanny Brice
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- Опубликовано: 2 июл 2024
- OHMYGOD HEY!
This week, Beanie Feldstein opened on Broadway as Fanny Brice in the long awaited revival of FUNNY GIRL at the August Wilson Theatre.
The critics were quick to rain on her parade with a slew of incisive reviews - but was there a bigger reason for this than simply disliking her performance...?
Check out today's brand new video for my thoughts on this and don't forget to comment with yours too!
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Letting Lea Michele be in Funny Girl would be like handing Thanos the last infinity stone
This comment is underrated
Hilarious!!!
Yes!
How you holding up ?
whatever you do DO NOT check insta
I agree that the real problem is that Streisand’s brilliant performance disguised the fact that Funny Girl is not a very good play. Funny Girl didn’t make Barbra’s career. It was the other way around. Her voice gave great legs to a Turkey. (New subscriber, here. Great analysis).
.
It’s funny that people say Funny Girl made Barbara’s career like she was an almost unknown. Before Funny Girl, Barbra was already a Tony Award-nominated actress, and a Grammy Award recipient (for Album of the Year!!) and had sold millions of records.
That's how I feel about "Mame." He was talking about the show coming back, and I just thought, "That show kind of sucks." It was popular because Angela Lansury (aka, the queen of Broadway) and Bea Arthuer were iconic. The show itself was "eh." If they revived it, I wouldn't hop in line to buy a ticket.
Streisand's voice gave WINGS to a turkey.
good point!
Totally agree!
The greatest magic trick Barbra ever did was convince people that Funny Girl was a good show.
Take her away and its true nature is revealed.
You just said a mouthful! OMG
Happy to hear that Ramin is receiving appropriate appreciation. He is marvelously talented.
He is fabulous!
Ya, quite the “rising star” 🤣🤣
I saw Fanny’s standby, Julie Benko, last night and she was PHENOMENAL. I was dubious going in, but she absolutely won over the crowd (and very quickly) and blew everyone away. I am absolutely planning on going back to see the difference between her and Beanie as well as between Jeremiah and Ramin. But I’d be remiss to not also point out that Jared Grimes is SO FUN and such a scene stealer!! If you can see Julie, I HIGHLY recommend it!!
There were some videos of Julie's singing with photos posted here earlier which have now been removed - supposedly copyright issues. Hmmmm.
i wish i saw julie now, aw
I second this! After initial reviews, I was curious about Beanie's understudy and I'm so glad I chose the night I did. I saw Julie and she was absolutely incredible, breathtaking, captivating! Her performance paid subtle homage to Barbra while still commanding the role and making it her own. And imo she made it easier to look past some of the other weak points in the show.
I saw Fatso in it.
She was HORRIBLE.
Agree. Saw Julie today and she was fantastic!
On the night we saw her, she couldn’t find or hold the notes to sing the harmonies with the actor playing Nick. It had nothing to do with her coming up short of Barbra. She doesn’t have the voice to hit or hold the musical notes that were written for the character to sing.
I really think these producers and directors failed to understand the complexity of Jule Styne's music. It can only be sung by an experienced vocalist.
Ty for your thoughts on the reviews. As someone who sees A LOT of Broadway and theatre (I live 2 blocks from Times Square for 25 yrs) and was a professional in the theatre for many years, I saw the show last week.
I was excited and anticipated the show for the last few months.
Then I actually saw the show…. It’s NOT just Beanie who I feel bad for, but it’s the whole production. The sets are awful. The lighting is meh and the direction is confusing to say the least. Very early on into the first act the whole thing feels like a community theatre production or a high school senior project.
I watched the London revival also directed by Micheal Mayer and was BLOWN away by how much better it was than this mess.
The other leads really try their best to hold this production together.. Ramin is awesome. Jane lynch mucks it up with style. But it’s just not enough.
As far as audience reaction, when you are in a theatre you can FEEL the audience. The audience I was with definitely felt like they WANTED Beanie and the production to be great. But very soon you felt the reality setting in that is was just going to be an OK night in the theatre.
Audiences here tend to jump to their feet at the end of performances here, but at the end it was such an awkward feeling, like maybe I SHOULD stand… and MANY people didn’t.
That being said, a critics job as I see it is to be fair but honest. Ticket prices are outrageous and people deserve to know the truth, even if it’s not what they want to hear….
If I would have seen this production in a road company in Iowa I may have said it was Ok, but ok isn’t good enough for Broadway.
My parents lived on 46th & 9th before I was born. Like yourself, they were involved in theater( & 2nd acted alot of shows to save $$) Beanie Feldstein is a talented young woman & while she's not Barbra ( who is?) I'm sure she's doing her best & while it's unfair to compare her to Streisand,I feel she was miscast.
Completely agree about when you are in the theatre you can feel the audience. This is so true in musical theatre, although sometimes a bit harder with drama. And the problem is people tend to behave in groups. Generally they will react in packs. Standing O's normally need one person to stand first. At the interval everyone starts talking about their impressions and it's easy to pick up the vibes. Do people rush back to their seats because they don't want to miss the second half, or dawdle as though gearing themselves for round two.
I think it is worse when there is a big name, or an opening cast because audience expectations are higher. And if those expectations aren't met then the audience tends to act out.
You'd hope critics are able to put aside this unconscious bias and review fairly, but they are also there to inform future audiences.
I knew this was going to be bad from the ads on TV. Coming from a rich showbiz family and wanting to play this part since childhood ---is privilege on steroids. She clearly had friends in high places to get this gig---I'm sure there are undiscovered high school performers who could have been given an old fashion showbiz "break".
I'm very sorry to hear that.
Could Gaga have done it? While completely miscast as Brice, she has the star power of Streisand and hasn’t failed at anything she’s attempted. i think she could have pulled it off (not to mention being virtually critic proof anyway). And i’m much rather see Gaga in it than Lea Michelle (for obvious reasons).
I am so tired of apologists using the party line that the reason why Feldstein’s performance is lacking is because people are comparing her to Streisand. No, we are not. We are pissed because when they are charging a mortgage payment for an orchestra seat during previews, we expect that the singer will have the proper voice type to properly sing the role (i.e. a mezzo soprano with belt). No one expects Streisand, we just expect that like every other Broadway performer in every other Broadway show, they’ll be at the top of their game and can sing and act and dance the role as it’s written. If you’ve seen the show and are saying she was “fine” or “held her own” then you are lowering your expectations and don’t understand that Broadway is the gold standard for musical theatre and that nothing less than spectacular is acceptable on that stage.
I certainly don't think Feldstein's performance is beyond criticism and haven't seen it so did not actually comment on it in this video, but I do think the comparison with Barbra and the nature of the show explained the extreme backlash to the performance.
@@MickeyJoTheatre Oh, I wasn’t referring to you here, I was referring to people in the comments section here and elsewhere who keep saying things like, “I don’t get the critics. I saw the show and she was totally okay.” Translation: “I enjoyed that shit sandwich, I’ll definitely eat another, because I have terrible taste and no self respect.”
THIS. I want a storyteller just as much as I want music and vocal skills. Both. Both are important. Now I’ll meet in the middle and say there are roles in musicals that don’t require as much of a steel voiced powerhouse as others.
Fanny in FG is not one of them, however. It requires both skills…period. It just bemuses the hell out of me how many times I’ve heard excuses for lack of musical and vocal ability in MUSICAL THEATRE. How many times have I come across people who emphasize the “theatre” part without any acknowledgment of the first part of the phrase…MUSICAL. Too many times.
I can’t clarify enough that I’m not saying one is more important than the other. But when it’s music and dance that separates musical theatre from theatre…I immensely frustrated when I see people cast who don’t have the basic requirements for a role. Acting is ALWAYS important, you’ll never hear me say it isn’t. But when a role like Fanny clearly requires not only a actress of the highest order as well as a kickass singer who can sing the score on the constant, why did someone who can’t fulfill those reqs get the job, nepotism aside? Why have I never seen a musical on Broadway where the dancers couldn’t dance their roles…but yet I continually see singers who can’t/can barely sing their role?
I swear, show business is the only field of work where excuses are made for hiring people without the basic skills/requirements for a job in the regular. Y’all can tell, I have…opinions.
Are Babs comparisons wholly avoidable? Ok, probably not…but I’ve done my best to not do so. And Beanie still doesn’t have the vocal chops for this role.
@@MickeyJoTheatre you have wonderful knowledge and kindness but if you listen to any of the audio recordings poor Beanie cannot even consistently sing on pitch. Also, you may not know that in New York, when critics are in the audience, sections are papered through private fan clubs and producers' friends. . So yes, a critic would notice which section is cheering.
@@stevepotfora7461 that is absolutely true. Any Broadway producer will tell you that. In fact, in the last week of previews with press in the house, a good number of those "fans" will often the show's minor producers!
Yes. You're absolutely spot on about the thin-as-skin book which is mostly fiction. Fran Stark was dead set against casting Streisand. Composer Jule Styne, a huge Barbra fan, wanted her and no one else, and wrote songs especially for her voice and interpretive skills. As rehearsals progressed, the creators realized they had something unique and special in Barbra and began to tailor the role for her timing, her humor, her brilliance. Even Fran Stark was won over. The show is as much about Streisand and her rising star as it is about Brice. The Arnstein/Brice love story, virtually complete nonsense, was added because you gotta have a love story. Another thing, Barbra doesn't have, nor has she ever had, the clout or inclination to stop incipient productions of FG from making it to the Broadway stage, or any other stage for that matter. There are few if any shows that are so completely associated with a singular performer as is Streisand and Funny Girl. There have been multiple, successful Broadway revivals of Gypsy, a never ending parade of "Dollys", The King And I, a gazillion Elphabas and Glindas etc. All shows with strong books, but Funny Girl needs a powerful talent to keep its weak script afloat. And Beanie, God bless her and her childhood dream to play the role, is not that girl. As others have said here, she is monumentally miscast. In an odd way, the reviews seem to describe an understudy's performance. She knew all the lines, blocking, choreography, sang the songs admirably and was able to pull it off with no mistakes. A fine job. But as one critic said, not a Broadway caliber performance.
Jule STYNE.
@@markshapiro3264 I knew who you meant. 🙄
Great commentary. Very good point about prior revivals.
I was about to write this all out and you've done a far better job, typos and all. Styne was right, as Barbara was just coming off her lightning in a bottle turn as Miss Marmelstein and her cabaret work.
You are forgetting the original Funny Girl ran for over a year with Mimi Hines as Fanny. The show didn’t need Streisand to run then nor does it need her now. It just needs to be cast correctly
When you read “star in the making” about Nick I had to REWIND to double check I didn’t mishear who played him this time around because RAMIN KARIMLOO IS ALREADY A STAR ON BROADWAY. What a thing to say.
Broadway is a very small and insular world. No one in the rest of America, let alone the world, knows who Ramin Karimloo is.
@@frankiebowie6174 Ramin Karimloo is quite well-known in the U.K., Canada and Australia, especially after his recent role in _Holby City_
@@TheBeautifulDisaster
I see.
@@frankiebowie6174 oh I get that. But on Broadway? Dudes a star.
My initial reaction was the same, plus Karimloo's been starring in all male lead roles in my heart for years.
But tbf, it was from Rex Reed. The dude's a million years old, has met everyone + seen everything. That's almost impossibly high praise from someone who is actually in a position to view Karimloo as a whippersnapper. Unacceptable from anyone else, but Reed's his own legend, who's had nightcaps (+more) with other certifiable legends. From RR, I get it.
RK's prob delighted by the line on multiple levels & can dine out on it for years to come.
JULIE BENKO, BEANIE FELDSTEIN'S STANDBY IN "FUNNY GIRL," WAS SENSATIONAL
With the thunderous cheers that greeted her final notes of “I’m the Greatest Star,” it was clear that the evening belonged to Julie Benko, Beanie Feldstein's standby in FUNNY GIRL. It was a singing and acting triumph for Benko whose first performance as Fanny Brice was April 29 to May 1. It was the second performance for Jeremiah James, subbing for Nicky Arnstein because the regular Nicky, Ramin Karimloo, tested positive for Covid.
Back to Julie Benko. The evening was all about her. Everyone else on stage, no matter how good, was a supporting player. Her “People” was breathtakingly beautiful and “Don’t Rain On My Parade” was as thrilling as it gets. She acts the role and gets under the skin of Fanny. There is so much depth there, and all without mimicking Barbra Streisand’s stage and screen performances, both of which I saw.
If there’s a downside it’s the schticky Brooklyn-accent she employs in some of the comic scenes. Julie Benko doesn’t need to rely on schtick to bolster the comedy. She’s a natural comic. I found that accent equally annoying coming out of Sheridan Smith.
After 58 years FUNNY GIRL's, act two still doesn’t work. Jeremiah James is fine, but Nicky Arnstein its not a well-written role. The exception, of course, is “You Are Woman, I Am Man." Here Benko and James found perfect harmony. They seemed like a sexy couple on the verge of romance.
Alas, Beanie’s costume designs throughout do Julie no favors.
The luckiest people saw Julie Benko April 29 to May 1, during Beanie's prearranged absence from the show. She return to the show the final weekend of August.
PS. Others appear to agree with me. Exiting the August Wilson Theatre I heard the phrases, “a revelation,” “absolutely sensational,” “heart-pounding” and “Tony-worthy.”
I saw it last week and the critics are right. She was a good actress but she is not a Broadway singer. She doesn’t have to be Barbra but it’s a heavy singing role and it needs a powerhouse musical actress to carry it. Everyone else I saw it with was in agreement.
Honestly, Beanie is perfect for the role of it had been a play. She has a great comedic timing and she fits what a modern Fanny is like
She just didn’t have the vocal chops for it. She can definitely sing but it’s Fanny Bryce and there’s a lot of expectations. I bet if she originated the role, people would have been impressed
But since there’s something to compare to plus the list of actresses that could also play the role - she needed to be phenomenal
Saw it Sunday with Julie Benko stepping in for Beanie. Julie was fantastic and the audience loved her.
Having seen videos of beanie Feldstein singing I was skeptical about her casting as Fanny Brice. There’s nothing that sours a musical production for me more than the casting of an actor who can’t deliver the songs to full effect, because, for me, it’s the singing above all else that’s the most important and greatest component of the show.
Agreed. That’s why it’s called Musical theater
Omg hahahaha. You are so right
Exactly
For sure. Musical theatre is storytelling through music (not exclusively, but music is an integral part), so a vocally miscast role is a fundamental flaw. However, I would say acting can be more important than singing depending on the show. I've seen some more serious shows where a performance is compelling despite good but imperfect singing because the acting was great; and some where the performance is unconvincing because the acting wasn't good, even though the singing was great.
@@andyhaochizhang
In a play aka without musical singing, acting should reign supreme. But I'd wager most people go to Broadway for musical theater than for the plays without music.
Totally agree with the show itself being flawed and that Beanie just isn't enough to make it work. I just watched the movie for the first time this weekend and Barbra Streisand was absolutely amazing, but the actual plot was boring and meandered in places. It never felt like it was culminating to anything until the final third.
The movie refused to pretend that it relies on anything other than Barbra Streisand and her vast singular talent and that’s why it works
Enough? She ruined. She has no stage presence whatsoever. She has no voice. Terrible casting.
@@ikexbankai That and her Great Chemistry with Omar Sharif.
This has very little to do with Barbra. Remember how shocked and appalled we were with how bad Russell Crowe’s singing was in Les Mis? Or Johnny Depp and Helena Bonham Carter’s disastrous singing in Sweeney Todd? Listen to the clips in the sitzprobe video they’ve released. “Hey Mr Arnstein here I aaaaaam” is all right in the nose. The critics aren’t out to get her. She clearly doesn’t have the bare minimum voice required for the part, and shame on the casting directors for setting her up to fail in this.
Any Jewish actress who has gotten through a run of Elphaba with her vocal cords in tact has the vocal stamina and requisite stage charisma to play this role, and good for these critics for pointing out that this woman should not have been cast. I’ll see it when someone with a Broadway caliber voice takes over the role.
That’s when I’ll go.
She didn't audition. Role was bought.
THANK YOU for bringing up the shit show that was the “Sweeney Todd” film adaptation! Watching my favourite musical of all time done dirty like that still gets my stomach acid churning.
...like Shoshana Bean
@@mojisolashabi Her standby, who performed this past weekend was amazing according to a number of chats I've read. There were some audio/videos here on RUclips but they were pulled. You can find others of her singing here: Julie Benko. Beside, Shoshana Bean is doing Mr. Saturday Night, isn't she?
I travelled to NYC (from London) specifically to see the revival of Funny Girl (I absolutely LOVE this show) and I was able to attend one of the first previews. All in all, I enjoyed the show and I was not disappointed. I loved the production and the staging. The tip tap dance moment was superb! I particularly enjoyed Jane Lynch's performance - I was not expecting her to be so good. She totally went above my expectations.
However, I am mixed feelings about Beanie. She was incredible in the "acting" part of her job. Her comic timing was impeccable (the review that mentioned her big eyes makes 100% sense if you've seen the show). She made us laugh and she entertained us. That been said, vocally she was nowhere near where a Broadway lead is expected to be (especially for such a big show vocally as Funny Girl). Especially "Don't rain on my parade" was quite the let down for me and my friend. After that performance we stared at each other and you could see the look of disappointment in our eyes - probably that was the only true "no no" moment of the show for me. Beanie cuts her notes short and she has a nasal voice that is - at times - a bit irritating.
As I said, I did enjoyed the show very much - however I was a bit let down by the vocal performance of the lead
I saw it in previews, and I don't think BF brought anything unique to the role. There was nothing that showed us this was a comedic genius in the making, she acted entitled and goofy. You aren't just funny because you can make silly faces. And vocally, I agree this was not a B'way quality performance for the ticket prices. The whole cast was definitely giving it their all.
I'm glad you weren't totally disappointed. I can't imagine such an expensive, anticipated trip and not enjoying the show. I structured a trip to your side of the pond to see Oliver! on the West End, and it was probably in the top two shows I've ever seen (the set, in particular, was amazing). In fact, the only bad thing in my _entire_ trip to the UK was a cab driver who was unreasonably angry I paid for a £15 fare with a £50 note--I didn't factor in the exchange rate when I was considering if I needed to stop at a bank to get it broken up.
What surprises me about the reviews of Beanie's singing is that a whole lot of people were involved in auditioning her, casting her, and then teaching her to sing the songs. I don't know much about the business side of theater, but shouldn't her vocal limitations have come up before the show started?
@@ElizabethT45 I think it's actually a good reflection of some broader problems. Beanie's casting was a sort of motivated decision. She's on their radar because she has connections, and they're excited they can get the marketing bump of Beanie being ethnically Jewish and plus-sized. But then, as things go on, there's a sort of pressure not to say what's obvious--her voice just isn't cut out for the role--because if you do, you're "really saying" you're uncomfortable with her body or her heritage. In the end, it only ends up hurting the person you hoped you could get marketing kudos for casting. They put her out there to look foolish because people are worried they'll be smeared as unaccepting for bringing up her vocal shortcomings. It's really a pretty cruel double-bind.
@@ElizabethT45 My understanding is Beanie didn't have to audition. Her father helped bank roll the show and so she was offered the role.
The "too body positive" quote was so INSANE, I laughed maniacally and had to replay it twice.
I'd like to know what they _meant_ to say. I'll admit that I've seen movies, live performances, etc. where the buzz about an actress being "plus-size" has been very much in the fore, and the physicality of that actress specifically draws attention to her body in unusual ways you don't see the other actresses doing. Sort of like, maybe, Rebel Wilson in _Pitch Perfect,_ who I think you could say was "too body positive" in that role, because of the odd, kind of uncomfortable way _she_ acted. It's not even commentary so much on her body as it is her own fixation on it.
Broadway should stand as "the gold standard". This has nothing to do with Striesand. It has to do with the fact that Feldstein just does not have the skill set (she is not a strong singer and the role requires 10 songs!) The reviews were spot-on. The critics should be "tough" - they are reviewing Broadway and tickets cost over $100. She is not suited to the role- although she is funny at times, she doesn't have the depth that the role calls for.
I also had the luck of seeing Julie Benko last week when Beanie had COVID and she was SPECTACULAR. My parter and I were talking about it all weekend. It’s really difficult to not think of Barbra when thinking of Funny Girl but Julie had us DYING from her performance.
I think they should have found a strong singer who could also act. Instead of vice versa as they did here. Broadway is full of such people. I flew to the UK in 2016 and saw Funny Girl with the understudy Natasha Barnes filling in for Sheridan and though she killed it. She was an excellent singer and a wonderful actress. I actually cried during the end when Fannie is sitting in her dressing room by herself.
I performed songs from Funny Girl in elementary school and admired Fanny Brice, too. That doesn't mean I could do it justice on Broadway.
I was a little dubious about Beanies casting from the time I heard about it. I tried to keep an open mind about it, but I was concerned her voice couldn’t bring the power the score of Funny Girl needs to keep an audience captivated. She’s a phenomenal actress and I’m sure she does a great job with that part, but after hearing clips of her sing the score I have to say the critics are right. Now I’m usually a nay sayer to the critics and by no means am I necessarily a Barbara Streisand fan. I like most of her work but I sometimes find her singing too perfect and her as a person a little pretentious. I know people want to champion Beanie, but we have to be honest with ourselves when we say she wasn’t really the best choice. It’s one thing to try to subvert expectations and go with a unique choice because their talent justifies it. It’s another to entirely ignore a whole aspect of a role and not believe our listening ears so we don’t come off as too critical. I will say though the critics did not need to go as far as they did with their reviews, critique should be constructive or else it’s pointless.
I disagree that the critics need to offer constructive criticism. That’s the director’s job. The critics job is to tell us whether she is good or bad in the show with no obligation to “help” her. After all, she may not even read reviews!
@@ericmillegan575 I agree about the critics. If you go back to the first comments here on FB when some of the rehearsal footage was posted - there were many (Including myself) who said exactly what the critics reported.
I was chastised for wanting Beanie's heart to be crushed by mean critics. I mean, really? If she has any sense at all, she would read what they say. I will say this, no one mentioned her weight.
She has a large fan base and they don't seem to care they are getting a mediocre performance. Ramin is the shining light here. When he sings - particularly the short piece of People - you hear what you missed in all of Act I. What a professional, Broadway level talent could provide. Shame.
This was the worst show I’ve seen in 20 years on Broadway
Also, saying a critic should be nice just because is DAMAGING to professional theatre. This is the Olympics of theatre. If you’re not supposed to be there, that’s just the way of it. If everyone gets a pat on the back simply for trying, then what is the POINT of any artist honing there craft? Like…honestly.
@@SnowCoveredKK I have to agree with you, but I’m afraid the ability to take criticism at all is list with my generation. We live in a time where to disagree with publicly approved opinions is to be bigoted and hateful. To have certain expectations from the performers and entertainment is close minded and ignorant.
Ramin being a star in the making? I simply had to laugh. He IS a star!
I just saw a matinee performance on May 4th and I have to agree with the majority of the theatre critics on this. I will say that Beanie was very likeable and she has a charm and a sweetness that is pretty hard to be cynical about. That being said, this charm sets you up to want to root for her when the big musical numbers come and when they do...they are a big let down. Her voice is serviceable. She obviously knows HOW to sing, but there is no richness or emotional depth to her singing. You don't feel the fire, passion and sheer electric bravado that Streisand so effortlessly showcased. Her big show stopping numbers do feel like a high schooler trying their best to elevate material they simply aren't mature enough for. Its like seeing a high school senior trying to play Mamma Rose in Gypsy...the same happens here with Beanie as Fanny. Overall the production was an enjoyable afternoon at the theatre. Its a fun shown and if you go into it just wanting to have a good time, you will. If you go into it with strong expectations, you are likely to be let down. My review is 3 out of 5 stars.
Darling, Beanie can't cut it. Not because she is not BARBRA, but because her voice simply is not strong enough!
EXACTLY.
Even though Sutton Foster is in music man do you think she could do the role???
@@cat56789 Do I think she could do "Funny Girl?" Yes. I have not seen "Music Man" yet,
will do so in July, but wonder if she can
handle Marianne. I mean, after Barbara
Cook; come on!
Exactly
Darling, It’s not that Beanie’s voice doesn’t match Barbra’s but BARBRA didn’t match FANNIE! Beanie is on par with Fannie.
I saw the show earlier in previews, and went in hopping for the best, and the rest of the theater felt full of an excited and supportive audience. It’s not just a Barbra Streisand thing, I think we should start looking deeper at the situation. The show, as written (and produced here in a decent but not exceptional production), has got issues, and Beanie, though charming and coming in with her unique comedic sensibility, just didn’t surprise me or blow me away. She came off very green, and as the night went on and the character is meant to go through some emotional roller coasters and character growth, she didn’t meet the challenge. It just wasn’t a strong enough performance, and unfortunately this show needs an exceptional performance to keep it afloat. Believe me, we were all there to fall in love with her and cheer her on as she made her mark (not compare her to Streisand) and unfortunately, for me, it just didn’t work.
I saw it too and I so agree
That was my take as well, i.e., being green and never really growing up. One critic commented that during Act II, it was like Ramin was on the stage by himself, she just couldn't keep up. This is even without considering her deficiencies as a singer. One thought that occurred to me was if she wasn't so afraid of singing the wrong notes and just sang to the 2nd balcony, her performance would have been better - her voice as well. Maybe not star quality, but better than teenager.
I agree, saw it too
I was in the audience yesterday. I told the group I went with before that the show itself was not a masterpiece of Broadway that can compete with the likes of Lion King, Music Man, Hamilton, Book of Mormon, etc.BUT that I expected the performance to be Broadway quality nonetheless. I was exactly right. The performance was fantastic-though because of the, as you mentioned, questionable quality it felt like it would be better suited for an Off-Broadway performance down the street. The show itself is B-tier and it’s because of who Barbara is she was able to use it to rocket herself to stardom. I’m glad I attended and would advise others to do the same, but I probably would not buy tickets a second time.
Thank you so much for sharing your thoughts - really interesting to hear!
I saw the production the day before opening night and, although I’m glad I went, I have to agree with the critics here :/ it wasn’t just the singing (which wasn’t great, even painful to listen to at times) but also I didn’t even think the acting was that great either. That being said, I think Beanie does fantastic on film, and I feel like Mayer did Beanie dirty by casting her in a role that doesn’t suit her. She got thrown to the wolves and is now being mauled apart because Beanie just isn’t meant for this show.
She just doesn't have the voice to sing such a demanding and iconic score. Period.
If the score was demanding, this would be an accurate critique.
@@matthewchavan6697 Why do you say that the score is not demanding? It goes down to an "e" below middle "c" and goes up to belted "e". You have to be able to belt, like in "Don't rain on my parade" and be lush and reflective in "People". The finale of "The music that makes me dance" is extremely difficult : you have to belt "eeee's" and "oooo's" at a very high pitch after an evening of screaming and shouting. Come on, every experts say it's a difficult score to sing and Beanie sounds horrible in it.
That’s hilarious that they called Rimin a star in the making
No kidding.
It makes him sound like the cameo Star To Be from Annie.
@@nickpilgrim7706 🎶NY-CEEEEE🎶
they are talking about a major film or TV star which many Broadway stars aspire too---as that's where the real bucks are.
I think we have to define what a star is. I don’t know a star named Ramin.
I saw the show in preview with my 17 year old daughter. She had never seen the movie with Barbra ( bad mommy) BUT I felt her opinion was therefore, less clouded. I'd seen Beanie in Hello Dolly. I never went into it expecting the voice of a 21 year old Streisand. The audience was fully in support of Beanie as she walked on stage. We were rooting for her. It is true she does not have a strong voice. Streisand aside. She is funny and endearing but it is a musical that needs a singer. My daughter said she got " high school musical" vibes from it. She is in HS. Summer Stock would be a bit more accurate. There are moments when you feel it isn't up to Broadway standards-- not just from Beanie. I was not a fan of the set, something I rarely comment on, but ick. The book is by far to blame for the less than stellar production. I imagine that even in 1964 the audience was waiting to hear the next song to get through it. By the second act there are few supports for Beanie in the story but like Fanny, she does not give up. By the end, we were still up on our feet.
I appreciated what you said about the role of the critic. Now that Broadway is back and I am fortunate enough to live in NYC, I am enjoying seeing live theatre again. I do think the show is worth seeing for the 58 years it took to bring it back, for the supporting cast, and even for what Beanie brings to it because there is a lot of love in the show. No one is up there to mess with your day. There is another revival on Broadway with real star power, fantastic choreography, but the show is dated and hokey. The Sondheim revival-- the music stands up to time but the book is also dated even with the female Bobbi as the new imagining. All 3 of these revivals are flawed in my opinion but a true fan will have reasons to see any and all of them.
I thoroughly enjoyed your commentary, thank you so much for your channel and contribution.
To be honest, if something about a show is universally panned, it may be a good thing for people to read about it before spending $200 on a ticket. And if there is something that a majority of critics find to be incredible, that's another good indicator to the general public that the ticket is worth the money. Professional critics shouldn't be the only ones we listen to, though. Word of mouth from regular audience members is just as valuable if not moreso.
INSTANTLY subscribed!! I've been looking for this kind of content everywhere and have come up disappointed. This is amazing. Thank you. 👏💖
I loved it! I went in not expecting Barbra and wasn’t disappointed. Enjoyable day in NYC
I saw the first night it was preformed. Still needed a lot of work but as a fan on the movie I just had goosebumps seeing it live. I think the hardest thing to get over with beanie is the fact the the plot of the show is based on an amazing singer/star. The only reason she doesn't pull it off is because her vocals aren't even the average of what's on Broadway.
Mickey I'm so happy to have found your channel! Your insights are next-level. I saw the show in previews a few weeks ago and all of the reviews - positive and negative - have truth in them. The night my wife and I saw it the crowd was primed for a Funny Girl experience; whether or not it had to do with the current version or it being a mass seance is debatable. Part me felt that the audience believed the more crazy they went, the more likely we were going to channel Babs with our collective Ouiji board. And as you probably already know the audience at a B'way show usually goes bananas whenever they're given the chance. My pet theory is that it's part of them getting their money's worth. I know I do it lol! Anyway looking forward to more of your insights! Oh, and AMNY=AM New York (free local paper).
Just found your page, and I think your insights and your theatre history knowledge are superb. I am an American who lives in the UK, used to live in NY and am a musical theatre actress, so you are speaking my language! In reference to your questions at the end: I think theatre critics should serve the purpose of a little of all the things you mentioned: informing theatre goers of something they might love that they don't know about, but also making sure they feel their money is worth it. As for the role of Fanny - There is often an element that is overlooked when comparing the singing to Barbara. Some people have defended Beanie by saying she is funny and charming, but her voice isn't as strong. They have also tried to argue that she is less like Barbara and more like Fanny. The issue here comes down to the actual notes and music that have been written for this show. It was written with Barbra's vocal instrument in mind, not Fanny Brice. Don't get me wrong, Brice was a very talented singer, able to be both comedic and dramatic. But this show isn't using the Brice songbook, they are original, and were written for a strong, mix/belt vocalist. When you cast AGAINST the music that is presented, you instantly have a problem. This was the issue with Sheridan Smith (whom I love, but her vocal range is not applicable). The same would apply to casting an alto in a soprano role for an opera. Unless you are going to change the key, maybe even cut verses, change tempos, to accomodate your lead, you HAVE to cast vocally appropriate singers. This is one reason why certain star vehicles don't always work with other performers. As a MT performer myself, I know these songs are HARD. Now, as I am in the UK, I won't get a chance to see the full performance, but I have seen clips from the rehearsals. As a singer and voice teacher, I don't need much to analyze her placement and technique, and I have to say it is in fact, a bit of a forced, nasal placement. It is what a singer who is not used to using a mix/belt would do before being able to build their stamina and find chest connection. She is lifting the tongue, shortening the acoustic space, thus producing a bright resonance. But without opening up the space, she is left with, what some critics are labeling, that HS production sound. I would have to say, with the dozens and dozens of talented, capable, professional theatre actresses out there who can handle this music, why are we not looking for a new star?
Well said!
Good vocal analysis thank you. Beanie hasn't had enough vocal training. It takes years not months to learn the technique for this type of musical theatre. I don't think she would ever have the range or the vocal power to sing this role. She is a light soprano and that is not this part.
I have to agree with the review stating her voice was unsuitable for the music. This is correct. She lacked the vocal strength and power to sing the role. I saw all three women who have played Fanny in this revival. Beanie, though likable and endearing was the weakest vocally. This is like saying it’s okay to put a weak singer in the role of Elphaba. No, they have to be a singer first.
Always great to find another channel to enjoy! I'm sure I'll be dropping by frequently. I have not seen the show but many people I trust have. As a die-hard Barbra fan, it took me some time to accept that they could do a revival of Barbra's iconic role. I think there are few roles so associated with a single performer. Bette Midler could go and do Dolly, even though the role was so strongly associated with Carol Channing. What I'm hearing from a lot of folks is that, it's not necessarily that Beanie interprets Fanny differently, it's that she doesn't have the vocal range, pitch and other factors required to sing the songs. Other things I am hearing: Jane Lynch is totally wasted in a bland role, Nick is stunt casting to look like a young Omar etc. Please no one shoot the messenger, this is just what I've heard. But if it's true that Beanie doesn't possess the technical skill to hit the notes or is not considered enough of a presence to carry what is otherwise a lackluster show without her, that's a serious liability. I live an hour away, so I may true to go see it in June. I really, really wanted this show to be a success because it seems Beanie and the producers and cast really put their heart and soul into this production.
Just a little history (I'm a big Ramin fan).Regarding his casting - not sure about a young Omar, lol, he's 43 - however, he was cast over 2 years ago. It did occur after he did a concert with Streisand (at her request) in Hyde Park. A few weeks later his agent suggested they submit him for the role, however, in the interim, the FG people contacted him to do the revival whenever it was mounted. So maybe the group thought he looked like Omar, but IMO, he more that carries the role, particularly with his stunning voice.
Beanie's casting was likely due to nepotism and family money being injected into the production. That's kind of the word on the street.
Great and thoughtful rundown, thanks so much. I've seen so many Barbra fans being vicious about Beanie Feldstein's appearance in the guise of historical accuracy "OMG Fanny Brice was slim! This is a travesty!" Their nastiness led me to root for Beanie, despite not having even heard of her (don't shame me!) prior to this casting. I'm very disappointed to see it's not been well received and all the snippy vultures are likely crowing with glee. (Or they would if vultures could crow. I don't know much about birds either.) Anyway thanks again for yet another funny and intelligent video!
I actually saw the show twice in previews and on opening night. I thought it was quite disappointing based on Beanie’s lack of singing prowess and not really having the spark the role needs.
Because someone voices an opinion it doesn’t make them out to be a vulture. If opinion is based in hate, jealousy, and/or vindictive intention then I would agree with the use of the word vulture.
Most of my critiques deal with Beanie's lack of singing ability. This isn't vicious, it's an honest assessment of the leading lady. No one expected Barbra Streisand. We just expected someone who could sing the score. Her weight is an issue to the extent that Fanny Brice was 5'7" and was an artist's model at one time and worked in burlesque, not to mention a Ziegfeld girl. That said - they've already drifted from the real story, so I think most people were willing to her a chance. She wasn't up to the show.
If y'all weren't being vicious then clearly what I said didn't apply to you, so... not sure why you both felt the need to defend yourselves. I'm a huge Barbra fan myself since the '70s; can still sing every note of the "A Star is Born" soundtrack, God help me!
I'm talking about the stans (I wonder if they call themselves "Strei-stans"!) who flung around some really nasty remarks re: Feldstein's weight before hearing her sing a bleedin' note. It's theater, who GAF what Fanny Brice actually looked like? I've seen Black Salieris in "Amadeus," white Othellos, and we've all seen sorta-pudgy, bearded Lin Manuel Miranda playing Hamilton--whom LMM's own lyrics describe with lines such as a "hunger-pang frame" and "peach fuzz, can't even grow it."
@@Makeji This comment discusses fatphobia, not critiques of Beanies singing abilities. Stop trying to derail the extremely necessary discussion of fatphobia in theatre, Hollywood and entertainment in general. It’s tacky, and honestly just proves the OP’s point even if you didn’t want to.
@@kiwilerner Fanny Brice was a real person. Her physical appearance was very important to her in real life and she was proud of her body. The early part of her career was about putting her body on stage, including being a Ziegfeld girl. So, yeah, it was a shock to see a plus-sized (is that correct term) actress being cast.
That said, I waited until I heard her sing to make any comments, because that's the way of the world these days. Had she been a great singer and actress, her weight wouldn't have mattered a lick to anyone.
Not the biggest Streisand fan-although I was when we were both younger. I do like historical correctness, especially when a human who actually walked the planet's life is being told.
I wasn't sure if I wanted to subscribe just yet, but you captured my heart with your singing! Subscribed! 🤩
You did an excellent Job reviewing this. Clearly knowledgeable on the subject. Thank you
Hi Mickey. Thank you for your intelligent, informed, and perceptive comments on this new production of "Funny Girl." When I saw the first rehearsal clips on RUclips, I made a few comments from the point of view of a high school theatre director who directed sixty-one dramas, comedies and musical over a thirty-one year career. From that admittedly limited perspective I commented on RUclips that Feldstein's performance seemed to be on the level of the most talented woman in a small town, community theatre production. Snarky? Yes. Accurate? Only "Funny Girl" attendees can judge. Funnily enough, however, a few reviews of Feldstein's performance also included allusions to high school and and small town theatre performances. Made me giggle. PS Just subscribed to your channel.
Very enjoyable video. As for the critics, I don't think their role is to be a cheerleader for new productions but to tell it like it is. I haven't seen the show and probably won't until the price comes down and a new actor steps into the lead role. But I am looking forward to that day as I played Nick Arnstein in public school production so the show, even with all its flaws, is near and dear to my heart. One thing you could've mentioned is the fact that Feldstein's father is one of the show's backers, which could explain a lot.
You’re very good, incredibly knowledgeable, & obviously very passionate about musical theater. Smart, thorough review, charismatically expressed. Fun to watch. Well done.
Your comment about “the crowd goes wild” reminds me of a show that got a one star review and the chap took the quote and put it on his poster as “a star” 😂
Outstanding 😂
I was lucky to be there on opening night, and haven’t seen the movie with Streisand. So my unbiased impression of Ms. Fledstein’s performance is that it felt like something from a high school production (compared to the caliber of the rest of the cast). It’s like she was trying too hard. That said, I was very entertained and had a great time. Maybe she’ll mature into the role as the run continues.
When people are paying top dollar to see a Broadway show, they shouldn't have to wait for the lead to "mature" into the role.
Doubt it. They have been working with her since last August or September, long before he rest of the cast began rehearsals. Could probably do with more stage experience in general. Her voice is never going to get much better so long as she is afraid to sing and worries about every not - "trying too hard" as you put it.
I love theater geeks. I was a football jock in high school, but found myself hanging and partying with the drama kids.
They absolutely had more fun❤️
@@evelynmarks2212 Yeah, I totally agree. I guess I was trying to give her the benefit of the doubt, but you're right.
@@mananimal3644 you know, there's no people like show people ;-)
I feel like the majority of the comments I read prefer the understudy Julie Benko than Beanie, and that’s saying something
II did theater regionally because it was my childhood dream to sing on stage. I could follow almost everything you said and find you Brilliant. Thank you for your very educated take on this show and live theater in general. Bravo! Hats off to you, young man. Your knowledge is apparent and your insight is delightful.
I saw Julie Benko, I was shocked!!! She nailed it and she really had great chemistry and her vocals were stellar
And now, Lea Michele will be taking over the role of Fanny Brice in _Funny Girl_ . Will be exciting to see how it goes.
I do agree that the critics were too cruel, and there was no reason for that one jerk to use "too body positive" as an insult. However, the show demands someone with unbelievable acting and singing chops, as well as excellent comic timing. Beanie's a phenomenal actress with great comic timing and her voice is perfectly lovely, but the critics got something right - based on every recording I've heard, she struggles to project the lowest notes and sounds shrill at the top. If you listen to her versus a more conventional mezzo-belter, even completely excluding Barbra's version, her voice pales in comparison; it lacks the power and conviction necessary to really pull it off.
Mickey dear,
New to your channel and LOVE your theatrical erudition. Have been passionate about theatre( especially music theatre) all my life and I am now 72. Thank you for sharing that passion on your you tube channel.
Thanks for the rundown of the reviews! I think I get the full idea from that and the post-ers.
Saw the show because Ramin was in it. He and Julie were phenomenal! Julie rightly deserves the role when Beanie leaves in September.
I saw Funny Girl in May, a coupleof weeks after it opened. My take on it was that Beanie Feldstein was over her head. SHe can act, she can dance, and she can sing - but she does not yet have the cops to take on a leading role in a show that depends so completely on it's lead character.
No clue how the algorithm brought me to you as I'm not a theatre buff but I really loved your style and insight into this play and it's controversy, as well as your take on critics. Subscribed.
Thank you for another wonderful video!! 🥰🥰🥰
Thank you so much, glad you enjoyed! 😁
I saw this revival of funny girl twice in previews and on opening night. I thought the critiques were far too kind to Beanie Feldstein. I didn’t see Barbra Streisand in the original Broadway production but the movie is the gold standard for me.
I want an actor to be able to sing a show’s score without the over mugging to compensate for a lousy voice.
Instead of criticizing the critics, cross the Atlantic and see it.
Ramin Karimloo is great as Nicky Arnstein and Jane Lynch is wonderful as Mrs Rose Brice.
Beanie just has no ginger and jazz, no pip with pizazz…
How old are you? Ginger & jazz? I’m an old & nobody my age sounds like that.
@@tananario He's quoting lines from "I'm the Greatest Star." LOL.
Now you are going to apply ageism to my opinion?! I get aged out because I have an opinion based on facts! The Beanie can’t sing, she’s dreadful.
Exactly!
@@Makeji thank you for knowing the lyrics! Lol
The little I've seen of Beanie singing Fanny on RUclips has left me quite unimpressed. Her voice lacks bottom. She sings through her nose and sounds whiny and unsupported. This role requires a thoroughbred of a vocal talent, which Beanie is not. I enjoy your competent perspective on this topic. You've got a new follower ❤
Glad you catapulted onto my you tube. You are very entertaining while being spot on.
I’m a New Yorker and was prepared to decimate what I perceived as some “know nothing millennial kid” likely about to join the chorus of theatre queens who pile onto the “support Streisand camp” at the expense of poor Ms. Feldstein. However, I’m thrilled to say I agree with every single thing you just said. I’m also thrilled to see you dress down the churlish nature of many of these “reviewers” who are woefully biased (as if any of them were there 58 years ago). Bravo to you. I’m a new subscriber.
I saw this after seeing a matinee of Company with one stunning Sondheim number after another, Patti LuPone killing us all, and a (sorry) star making performance by a young woman who stepped in to replace Katrina Link and proceeded to burn the house down. So coming off of that spectacular afternoon to this dreary endeavor was dispiriting to say the least. The show itself felt careworn, and after years of Karaoke versions of People I could barely sit through another one, with Beanie adding nothing to it. I confess I did not know a lot about Beanie so I was open to loving her in the role, and indeed for the entire evening the rest of the house seemed to be screaming hosannahs for her performance and I thought am I the only one here who thinks this is pretty awful? Well I guess I wasn't. And MickeyJo I just discovered you here on RUclips and you're great!
I saw FG in my reviews and really enjoyed it. I went in blind so I had no reason to compare to Barbara. I didn’t even know much other details of the story. So, I loved it and would see it again. But like I said I went in with no expectations
I'm old, I saw the original with Ms. Barbra four times on Broadway I'm not expecting another Barbra in any revival. What I expect is a lead who can sing this score.This is a musical with a knock our songs that makes you over look it's weak book. If Jules Styne, the composer, were alive, today Feldstein would have never been cast.
I am beyond jealous you saw Barbra, please tell me everything!
@@MickeyJoTheatre ditto!!
@@MickeyJoTheatre
There are clips on RUclips, very crude, but you get a sense of her youthful playfulness in those early days of her stardom.
It’s well known that none other than Greta Garbo slipped into the theater time after time to watch her performance. She must’ve been pretty darn good.
@@MickeyJoTheatre Well I'm not Tony Paradise but I saw Barbra twice in the original & all I can say is that by the time I got to the Winter Garden Theater, the young Streisand had already been traumatized by the repetitive nature & grueling schedule a show on Broadway demands. I was young too & starstruck however it was painfully obvious that Barbra had spirited herself into other worlds just to get through the evening. She walked through the part looking kinda bored by the whole thing & was "phoning" her performance in. She couldn't wait to be done with her commitment which she later likened to a prison sentence. Barbra' had bigger fish to fry - a whole other world to conquer - and honestly seemed bored to tears by the whole situation. That being said she' was still who she was which in & of itself is fascinating to behold so no one left the show disappointed. That much I can tell you.
@@peterdavino4408 Interesting comment. I saw the B'way tryout in Boston when Streisand got similar reviews to the young lady who's doing the part now, but for her acting, not her singing. Elliot Norton, one of the better known and more 'important' critics of the day (critics were well know and had reputations then...) remarked that she 'could sing the songs, but couldn't say the lines', which was pretty much the case. As I recall they delayed the opening on Broadway, changed the touring dates and went off to someone (Detroit??) where they took a month or so teaching Streisand to act. And the rest is history. Except, as you say, once she got to Broadway she didn't really seem to like it and didn't have the kind of discipline needed to sustain a long part over the period of a long run. Towards the end of her time in the show another critic, re-reviewing her performance, said that she
was indistinguishable from Jerry Lewis. And somehow one knows he was almost certainly right. There's also a lot on this site about how she was the only one who could do it, but her replacement on Broadway, Mimi Hines (pretty much forgotten now) kept the show running for an additional 18 months. That's hardly negligable, but I suspect many people commenting here are not aware of that.
A critic's review, on critic's reviews... I love you. x Both a reviewer and musical theatre performer: you are a hero to theatre and I salute you, sir! x
Professional Musical Theatre Actor here. Thank you for your wonderful and thoughtful reviews. I find them very enlightening & educational. Your critique of shows are A LOT BETTER than other prominent critics out there.
I'm about to embarrass myself here: I don't think I have ever knowingly heard Barbara sing? I am not all too familiar with classic American musicals. Everything I know about Fanny and Barbara and Funny Girl is from Glee (embarrassing, I know). So for reference, I have only ever heard Lea Michele sing these songs.
I do like Beanie Feldstein. I think she's a great actress, incredibly charming and funny. I did see some videos of her singing that surprised me. She has a lovely voice. However, when I saw the official rehearsal footage released by the musical's official account, I cringed so hard. Her voice doesn't fit these songs at all, and again, this is coming from someone who has never heard Barbara sing. She has a sweet voice, but is in no way a powerhouse. I know it was only rehearsal footage, but it was just *not good* and if they thought that footage was fit to release to the world to show off how good their musical is.... I was quite wary.
Not surprised to see the reviews are all really bad. I do agree that some of them are playing too into "haha isn't it fun to be mean". I can only imagine how hard it must be for Beanie to see/read these reviews after working really really hard and seemlingly having dreamt of playing this role for a long time. But I don't think it's unfair to say she simply doesn't have the voice for this role, not just because she doesn't sound exactly like Barbara.
I totally agree with you - some of it has to do with comparison to Barbara but some of it doesn’t - she is not a strong singer with or without the expecting of Ms. Streisand
I imagine there are millions of girls that have dreamt of being Funny Girl - some of them (with money to go to Broadway) sing during this show. I was not one of the them. Either should have Beanie.
It’s Barbra. She took the extra “a” out of her name. Buy/rent Funny Girl. Now, THERE’S a singer.
Lea Michele is no Streisand no matter how loud and often she tries to convince us that she is.
Criticizing critics for criticizing. And that's show biz, folks.
Side Note: It's not just that the public identifies with the songs as Streisand's... Jule Styne (worried that the producers were looking at more bankable stars like Mary Martin and Edie Gorme) actually wrote the songs to fit Streisand's incredible range, making it near impossible for anyone else to sing them. Casting an actress with a only competant voice in a role that is not only known for creating a career for a singer but also a role ABOUT a singer, which Fanny Brice was, as well as a comedienne just isn't good business sense in time when Broadway can't afford that.
Some how coming across your content for the first time today. Love your approach. It is evident how much you love theater, and your critical mindset for the way it is reviewed it’s also very appreciated. Keep up the good work. New fan here. #TheaterKidForLife
Mickey Joe. Thank god for your honest and informed analysis. Your purpose is to inform and educate and not tear down and destroy.
I will say that I think the reason Mame isn’t getting a revival any time soon is because there’s a LOT of problematic material in it. To name some of many: racism against Asians, lots of Confederate South/“Dixieland” apologism, I mean for crying out loud the show’s book itself was written by a man named Robert E. Lee and the infamous man of the same name is name dropped in Mame’s title number - which also includes the lyric “you make the cotton easy to pick.” It would need a major overhaul to even be considered a choice in the time we now live in, which really sucks bc Jerry Herman’s musical score is one of my favorites to listen to and sing (I performed in a pretty big regional production of it several years ago). Certain shows need to be laid to rest and there’s not much a modern perspective could bring to them, and unfortunately I think Mame is one of those shows.
Mame would work if gender reversed and they'd do it just like my high school did and cut the racist Asian character out and shorten the scenes in the south, and when gender reversed with Mame as a gay man there's a good love enemies to lovers storyline with Mr. Babcock to fill in the cut scenes.
@@juliannehannes11 Great idea. I'd love to see that.
Hi there. Well I've seen the movie AUNTIE MAME with Rosalind Russell and the move MAME with Lucille Ball. While there may be a reference here or there that possibly could be pounced upon by the pc police, the thrust of MAME is the celebration of inidividual thought. The whole production has Mame championing the unconvential. Her secretary having a child out of wedlock (though we find out she did drunkenly marry her "date" LOL.) Mame giving her what for to the fiance's parents who live in a "restricted" community. Mame's displeasure with her own nephew who she feels at one point during the storyline has become a stuffed shirt etc. I would think the overall point of view of Mame would be championed. And I totally agree with you that MAME has a great song. Definitely. I wonder if the Broadway production of either Auntie Mame OR Mame had Mama'e apartment sets changing so much as it did in the movie AUNTIE MAME. Anyway, though we disagree on a couple of points, I'm sure as RUclips contributors we'll always remain bosom buddies! LOL
All that said, we can now talk about the second act. Or, better yet, not.
I'm only coming at this from a strictly vocal perspective.
I think when you have star vehicles or roles so synonymous with someone else, the person's voice must suit the music. It must fit like a comfy glove. There's a certain magic when that happens.
It's a non-theater example but look at Adam Lambert with Queen. How can you possibly compare to Freddy Mercury? Adam has been so well received by audiences and bandmates alike because his voice fits the music like a goddamn glove.
I guess what I mean is when the fach doesn't fit, audiences can just feel it. That's when they really start to compare and contrast with previous performers. It was up to the casting directors to make that happen. (I know this is a moot point now lol)
You are bang on! I saw it the night before opening night, and really enjoyed it! I knew I wasn’t seeing Barbra and had myself prepped for a show about Brice! Go see it!
I am so impressed by you. You have a lot of knowledge and talent. As a slightly older person...when you see such qualities in a younger guy..I get really hopeful that all is not lost for the future.
I saw the production in NYC last Tuesday while it was still in previews and I have to completely disagree with the critics on this. No, Beanie doesn’t have the voice of Barbra Streisand but honestly, not many performers do. She does, however, posses great comedic timing and brought immense enthusiasm to the performance to the point where my musical-hating boyfriend even enjoyed the show. I was eager to see the revival as I worked as a stage hand for a production during my undergrad years and only ever got to see it from the wings. I left the August Wilson Theatre very happy and filled with joy as I felt the revival felt fresh while still remaining faithful to the essence of the original show.
Totally agree with you. Saw the last preview and really enjoyed it
It doesn't matter if she was funny, it's a musical with some of the hardest songs to sing and she can't sing them.
Agree! Had a wonderful experience
+
I went into the show with a fairly blank slate, of course knowing the songs "People" and "Don't Rain on My Parade" but having never seen the movie. My assessment is just that it's not a very good musical. I think the reviews were brutally focused on Feldstein because the character seems to be rather unlikeable when the breakout star quality is missing. This is in no way her fault but after sitting through the long second act that is mostly comprised of the character complaining and then steam-rolling over the people in her life, I can see why some of the critics had such a visceral reaction.
In regards to some of your other points, Ramin Karimloo is certainly not new to the Broadway scene but despite headlining the most recent revival of Les Miz, he's not really a hugely known name here. (An atrocity in my opinion!) I had never seen him in a role where he danced before and that was definitely a high point for this show.
Do I think that the critics should be using their platforms for negative reviews? Well... I bought tickets at full price for Funny Girl as a gift to my mother at the cost of $160 USD each (and because I went in person to the box office this was without the online service fees which can add at least $8 to each ticket). I don't regret the purchase because SHE enjoyed it but, under different circumstances, I appreciate hearing the potential negatives before laying down that much money. If the production is something I really want to see, then I will put the reviewer's opinions aside and go anyway. And while I'm sure the bad notes have affected ticket sales a little, I don't think that the core audience for this particular show took a huge notice of the reviews.
Theatre did get hit very hard in the last couple of years so it is understandable that producers would be choosing to put up shows that they expect to be easy money makers and perhaps the critics should be more understanding. Unfortunately, though, I didn't really disagree with them much for this particular production
What marvellous words.
Applause!
Applause!
You’re an incredible writer and pleasant to listen to, thank you for your content!
Not seen the revival of Funny Girl, but I’m loving you and your commentary. First time on your channel. Well done, Mickey Jo
Well, thank you for this!! I couldn't stop reading reviews the other night until I'd found and cringed through every last one. I guess I'm a glutton for schadenfreude and second-hand embarrassment. Some of the critics' comments definitely went too far.
I do agree with you that it is lovely and important for critics to "help unite audience members with a show they'll fall in love with," but only when it's the truth.
Also, while NYC theatre enthusiasts may have the time and money to see every show, good and bad, many others have to choose what few shows they can see. It's therefore important that reviewers help audiences get an idea of what shows will be most enjoyable.
We saw Funny Girl last night with Beanie Feldstein’s understudy Julie Benko, and she was absolutely terrific. There’s been quite a bit of buzz here about the number of performances that Beanie has missed so early in the run. In addition, based strictly on a few reviews of Julie’s bravura performance, there is some talk that Julie is a better Fanny than Beanie. Unfair? Perhaps. I’d like to see both before passing judgment, but that was some spectacular, heartfelt performance last night!
Saw Julie last month, and she was amazing.
110% the breakdown I wanted to watch on this, with bonus points for the thoughtful commentary at the end in regards to the role of critics.
(As an author and a former theater girl, seriously... THANK YOU.)
Excellent analysis, well delivered.
I was a professional in the theatre for many years. I know the show Funny Girl very well. I saw Funny Girl on Broadway w/ Beanie Feldstein while the show was in its last week of previews. It pains me to say it, but I was very disappointed w/ this production.
Bottom line... The direction was terrible. The character's relationships were not believable and had no depth to them. So, when they would say the dialogue it seemed flat and trite.
The director made some very strange choices (like WHY make Nick Arstein dance during Temporary Arrangement?🤦♀) Ramin Karimloo has a gorgeous voice but making him dance was not the right choice. He looked very uncomfortable doing so.
In some ways, it felt like I was watching a community theatre production and not a Broadway production. The director lacked vision.
The set was weird too. At times I leaned over to my daughter and said, "Where are they supposed to be now?"
Also unfortunately, Beanie Feldstein does not have the vocal chops for the role. She also did a lot of schtick and not true acting. There are plenty of female actors in NY who could sing and act the role. They should have cast an amazing unknown and billed her as, "And Introducing __ (fill in the actress' name)
It is too bad, there were a lot of talented people on the stage, but the direction was just bad.
There was also no Zeigfield Follies glamour or spectacle at all! It made me think the production ran out of money!
I will say that the music, the orchestrations, and the pit sounded phenomenal!
Then I read this Washington Post article from a few weeks ago. It seems that it was the same director as the London production.
www.washingtonpost.com/theater-dance/2022/04/15/ramin-karimloo-funny-girl/
This explains A LOT. The director just did a regurgitated version of the London production for 2015 rather than making this a true Broadway revival.
It's too bad, this revival could have been great! So many people love the score they would have gone to see it regardless of who played Fanny. Again, they should have gone with an unknown who really had the acting and vocal chops for the part. And hired a director who had a true vision and not just a repeat of the London production with a different cast.
My husband said, "Well the producers must have thought that the London production was good enough.Otherwise they would have not gone with the same director. This is a valid yet sad point. SMH.
And now because this revival was not good, will we have to wait another 58 years for the next one?? OIY!
My EXACT thoughts. The direction was uninspired and the set design was a mess.
I think the point of critics in every art form is to offer a perspective, it would be weird if they only offered positivity and shone sunlight up the asses of every show, then their reviews would be meaningless. It is because they offer harsh critics as well as glowing one that shows they have taste, in addition I’m not sure what constructive criticism you can offer that outlines that beanies voice just can’t carry the songs, that’s the truth of most the reviews, while i take issue with any criticism based on her appearance you can’t change her voice and her abilities
Fantastic breakdown. Thank you. Your take on the role(s) of critics is well conceived of as well.
Just discovered your channel. You’re amazing!
I don’t agree with how brutal a lot of the reviews are. It’s one thing to point out the flaws in a performance, but most of them are just outright mean to the bean. She’s a fine actress. I saw the show about 15 performances in and she does have good comedic timing, but my God she cannot sing the score. I do think it is fair to compare her to Barbara a little bit because the score was literally made around Barbara. Jule styne wrote the most rangy score he could because he wanted Barbara to sing it and no one else could come close. And when you look at the life of Fanny Brice, this is a woman who made a name for herself purely based on her RAW talent. You don’t need an actress to sound like Barbara, but you need an actress who you believe is Fanny Brice, and watching beanie I just don’t believe anyone could look at her fanny and say yup, sign this gurl up for the Ziegfield follies. She doesn’t feel like the greatest star. And if we’re being honest, The book isn’t that great. Yes Harvey did his best to fix it up, but it doesn’t change the fact that you need an immensely talented lead actress in the role.
But something I don’t hear a lot of people talk about is that a lot of blame should be placed on the producers. They saw her audition, they surely must’ve heard her sing. Why cast her in funny girl if you know she can’t sing up to par with what the score expects of a performer. And it’s not like beanie is a well-known name that will sell seats, The show itself will sell seats well enough. This would’ve been the perfect opportunity to find someone new in build them up just like the show built up Barbara. There’s plenty of wonderful young Jewish actresses with amazing voices in New York just waiting for their big break. Maybe they were hoping season three of American crime story what do as well as season one.
Beanie have rich friends and family who helped with production and that’s how she was casted. No big deal.
@@MartinHomeVideo Exactly, there was no audition.
@@Makeji right, I should have put “”””audition””””
@@firecracker4151 They needed money for the production, I suspect. Also, since this was Beanie's (Beanie's mother's dream more likely), Dad called in some favors. Here's a post that was on an IG site that prints anonymous gossip:
Subject: Nepotism baby can’t keep up with the Broadway pros
Message: A headliner of a musical that just opened is really struggling to keep up with the rest of the cast. Everyone in the biz knows it, and is surprised that this person was cast in this role, even though initially people thought they were a good fit. Vocally, they just can’t keep up with the other cast members and it is very noticeable. Which is a shame because this person is good for the role in other ways, but vocally just doesn’t have the chops. It’s a strange casting choice which looks less strange when you find out their parents quietly invested money and other big producer friends slung their weight around to get this show green lit (big eyes emoji). But casting someone in a musical who can’t sing the role is just never a good choice. 8 shows a week is so hard on you it’s not even funny.
@@Makeji Deuxmoi says the most obvious things sometimes and acts like it's big news
Wonderful insights. FYI Barbra says her name is pronounced Strei-SAND, not Strie-SIND (just in case you ever meet her 🙂). Also - amNY is a freebie newspaper in boxes at subway stations.
I just now discovered you - and I’m already a fan. Greetings from Canada🇨🇦. Stay cool 😎
Just found your channel & fallen in love!
Going to spend tomorrow reading / watching your other vlogs.
Hoping to find some Sondheim discussion.
Thank you - especially for the feedback on Funny Girls review.
Has Beanie commented on reviews?
If this goes on & on - the next casting of Fanny could blow all our minds.
Sending love.
X
I'd love to see Alisan Porter in the role. She can sing! I think she gave up acting (she was "Curly Sue") a long time ago.
A few years ago, she resurfaced on "The Voice" and won the whole thing. Watch her sing "Blue Bayou", at her first audition.
It gave me chills.
I saw the UK production with Sheridan Smith and thought it was truly dreadful - I was mystified how the stage show morphed into such a wonderful film - which I watched again last week. I think Ms Feldstein has undoubted talent - she was terrific in Impeachment but I felt all wrong for this role. I think it is legitimate to point out that when someone is playing a real person that are physically wrong for the part. I don’t believe in comparing one person’s interpretation of a role as against another as if it were a competition- the question is - is the person good or bad/right or wrong for the part and I feel BF comes out on the negative side of both questions. As, in my view, did Ms Smith. The ticket prices are very high and I think the prospective audience needs to be warned if the show is a dud. One doesn’t entirely go by the critics but if the reviews and nearly universally bad then one goes to show at one’s peril. Loved your own delivery and your ‘Hello Gorgeous’ moment
I’ve seen tons of actors who don’t look like the “real person” they are portraying pull off a role well because they had the talent play the character. I don’t need someone to look exactly like Little Edie Beal or John Wilkes Booth to think they nailed it. Most actors don’t look like carbon copies of the role they play. There have been plenty of regional Fannys I’d argue on paper are too pretty to play the role but I wouldn’t care that much if they kill the role. Unless you mean just because of her weight which I think is what you are getting at. From what I have seen in clips Beanie isn’t right for Fanny Brice but I don’t think that has anything to do with her weight.
@@MissBroadwayDork thanks and I so miss your singing... no I was not referring to her wait but he overall appearance which to me does not seem right. I agree one does not need to look exactly like the person you are paying but while this woman is a great actor in many other things I think she is miscast there which is very difficult for her. I hope you are keeping well and wish you all the very best.
Wow, thank you for such an intelligent analysis. I had never heard of you before and was trying to find out what really happened with Beanie Feldstien. You not only provided the background I was looking fore, you also did a deep dive into the possible reasons for each criticism.
This is a brilliant and very clever summation 😁👍🏾
Thank you so much! 😁
The only time I’ll say that you could hear enjoyment from a certain group at a play (and everyone knew it) was when Daniel Radcliffe did that nude scene in Equus lol i was sitting dead center and every HP fan girl and some fan boys squealed
I love the Theater.. i Love Barbra.. I love Beanie..and now i love this cute young and very articulate man.. what a smart.. sharp.. intelligent critique of the critiques.. Truly enjoyed your thoughts and conversation.. keep up the great work..
Thank you so much for the kind words! 😁
A Great Review and A Great Channel. You have got another subscriber from Spain. Stay Safe and enjoy listening (and even singing.. People 👠)
I am transfixed with your review, and the whole comment section re your review and musicals and I miss New York!!! Thank you all for the great entertainment.