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| Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: DanielVincent 12:35 am EDT 08/01/22 | |
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| A bit of context before I share my feelings about today's matinee: --Even before the current revival, I had mixed feelings about Funny Girl. I maintain that the high points in its score and Streisand's iconic performance have fooled people into thinking it's a better musical than it actually is. --I have mixed/leaning negative feelings that about this revival, including its iteration in London with Sheridan Smith. I think Michael Mayer's leaden, frequently joyless direction exacerbates the problems in the text, and Harvey Fierstein's revisions did little to address them, often trying to fix the wrong aspects of the libretto. --I previously saw Beanie Feldstein during the final week of previews at a critics' performance. As some may remember from my previous posts, I very much admired her interpretation. Although she does not have the huge, roof-raising belt that people want for this score, she nevertheless sang well and delivered on the final notes of "People" and "Parade." What was more important, at least for me, was her refreshingly different take on the character from Streisand's. When I see a revival, I don't want a rehash of what I've already experienced when seeing other productions; I want to learn or feel something new. And with Feldstein as Fanny, I definitely did. --I also saw Julie Benko during her first weekend of scheduled performances. It was a very successful performance. However, I felt that a major reason why it worked as well as it did was because she did not hesitate to channel Streisand, particularly in her scene-work. Her singing was much closer to what we want and/or expect from a Fanny Brice. Ultimately, I felt that Benko's performance probably served the production as a whole better than Feldstein's, but I found Feldstein's significantly more interesting. When I saw that Feldstein's last performance was on TDF, I could not resist the opportunity to see it—not only because the media attention her departure has received promised to make it a fascinating afternoon, but because I wanted to see how her performance evolved, particularly after some friends who recently saw the show described it as "schmacting." I did not, however, expect it to be what it ultimately was: one of the most exciting afternoons I've ever spent in a theater. Much has been written on this board about overly enthusiastic audiences, and I agree with nearly all of it. So much of the hooting and hollering I hear in Broadway houses these days is as performative as anything onstage. It annoys me, in large part, because it feels insincere and, sometimes, even a desperate attempt to be part of the show. Today's audience was wildly responsive, but it felt so damn organic, rather than be annoyed by it, I was swept up in it. The tone was set when Feldstein got a partial standing ovation on her first entrance: the afternoon was going to be a celebration of her work. And in the best possible way, the entire cast, Feldstein included, fed off of it and delivered the best Mayer/Fierstein Funny Girl I've seen. (Standing ovations followed in both Don't Rain on My Parade and its act two reprise.) To my friends' point, yes, her comic bits, especially during numbers occurring as part of the shows within the show, have become broader. But her vulnerable moments—and, for better or worse, act two is mostly built around them—have become more detailed and infused with more pathos. Her relationship with Ramin Karimloo's Nick Arnstein also felt more fleshed out with a palpable tenderness that made their split even more poignant. (Tangent: Liz McCartney was on as Mrs. Brice and was significantly funnier, more powerful and more believable than Jane Lynch.) In "Funny Girl and the Streisand Phenomenon," the excellent Hudson News article that was recently posted here, Erick Neher describes how, in the development of Funny Girl, "the plot of the show itself started to bend to become as much about Streisand’s backstory as Brice’s." Perhaps Funny Girl needs this blurring of the lines between its leading lady and the performer she is portraying to truly fire on all cylinders. Part of today's magic felt bound up in what we know and what we speculate about Beanie Feldstein's backstory. It felt as if the audience was declaring its love for her, in part because we collectively felt she needed it, much like Fanny needs Nick's affection. We became the audience in the show that gives Fanny the affirmation she cannot get anywhere else, and we became the audience watching the show that could give Feldstein the vindication that, at least today, everyone seemed to believe she deserved. It became, to borrow from another of the past seasons' musicals, a strange loop, and it gave the show a thrilling electricity. And, yes, when, in the last moments of the show, she arrived at the lyrics how she'll "cry a little later" because "that life in the theater," her delivery and the audience's response were so visceral, I don't think I'll ever forget it. When it was time for bows, after a prolonged standing ovation from the house, a large portion of the crew joined the cast onstage to applaud Feldstein and, in a throwback to "Rat-Tat-Tat-Tat," the conductor gave Feldstein his baton. In a very sweet, almost blink-and-you'd-miss-it-moment, Feldstein encouraged McCartney to take another bow, and McCartney ushered Feldstein back downstage center. Then, Peter Francis James (Florenz Ziegfeld) made an extremely classy and heartfelt speech, describing how Feldstein had "dazzled" the entire cast, crew, orchestra, and house staff during her run. He spoke of her warmth and brightness and said something to the effect of, "Acting opposite [her] is like looking into the eyes of the sun." I'm sure Feldstein's performance and the drama that may have occurred backstage during this revival will be talked about for a long time, but I know that what I experienced today will stay with me even longer. It was one of the greatest examples I've ever seen of the unique symbiosis between performer and audience in live theatre. Brava, Beanie, I can't wait to see what you do next. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: TheOtherOne 09:53 am EDT 08/01/22 | |
| In reply to: Beanie Feldstein's Last Funny Girl (long) - DanielVincent 12:35 am EDT 08/01/22 | |
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| "Then, Peter Francis James (Florenz Ziegfeld) made an extremely classy and heartfelt speech, describing how Feldstein had "dazzled" the entire cast, crew, orchestra, and house staff during her run. He spoke of her warmth and brightness and said something to the effect of, "Acting opposite [her] is like looking into the eyes of the sun." " He is such a wonderful man. I did not see the show, but I hope she remembers his words for the rest of her life. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: lonlad 10:21 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - TheOtherOne 09:53 am EDT 08/01/22 | |
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| Yes, I'll never forget his amazing performance opposite the luminous Dame Maggie Smith in THE LADY FROM DUBUQUE in London, in which he played the companion of the title character, self-effacingly and with great authority. | |
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| re: Beanie Feldstein's Last Funny Girl : The core of the problem | |
| Posted by: NewtonUK 06:58 am EDT 08/01/22 | |
| In reply to: Beanie Feldstein's Last Funny Girl (long) - DanielVincent 12:35 am EDT 08/01/22 | |
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| In the London production, Sheridan Smith was fine, as was her cover, Natasha Barnes, who took over for long stretches. This wasn't a 'great' production, but it served the material well enough, The Streisand factor was not nearly as big a deal in the UK as it was in NYC, with all the musical theatre mavenettes whining in chorus. For Broadway, where the show has never been revived, this production was a big deal. This was a dream come true for Ms Feldstein, and there is no world in which any brickbats are deserved for her. She worked hard, and gave her all 8 times a week. As most critics (and audiences) have noted, her casting was not ideal. She doesnt have the voice, and more interestingly, is not that funny on stage. The role calls for someone charming, funny, with a knack for clowning. And maybe a little sexy, with a will of iron. All of which Streisand had hands down. When one goes to a Broadway show and an actor seems totally at sea, or wrong; or the set is ugly; or the orchestrations are odd; of the costumes dim; - anything. Don't blame the artists. What you are seeing and hearing is what the producer(s) and director wanted you to see. They approved everything. They did the casting. If any disservice was done to Ms Feldstein, it was done by the producer and director. Although stars often are 'offer only' - they won't audition. I would think, although I dont know, that in this case Ms Feldstein would at least have had to sing for the team, as this was a talent we weren't really aware of. And when she sang for the team, they felt that they could work with her and get the sound they wanted and needed. I have no doubt whatever that serious work was engaged in in this regard. But it seems to have been a fool's errand. I feel for Ms Feldstein that she was put in this position, and enabled, and told, as I am sure she was, by all around her, that she was doing great, audiences would love her. Its reasonably hard to believe that musical theatre Broadway professionals weren't hearing what we eventually heard on Broadway. They just kept shtum. The downside of Ms Feldstein's experience I would lay at the feet of the producer(s) and director; and also her representation, who manage her career, who should have/could have clocked this, and engaged in gentle damage control. From where I sit, no one that should have been looking after Ms Feldstein;'s interests was doing so. Denial seems to have been the watchword. I wish Beanie well. Now we'll see if Ms Michelle is funny. Nothing I saw in Glee would lead me to believe so. But I await the time when I can be proven wrong. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: KingSpeed 03:37 am EDT 08/01/22 | |
| Posted by: KingSpeed 03:36 am EDT 08/01/22 | |
| In reply to: Beanie Feldstein's Last Funny Girl (long) - DanielVincent 12:35 am EDT 08/01/22 | |
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| And this is why I think this was probably a better experience for Beanie than the “embarrassing” one people have projected onto her. Beanie will be okay. She got to star on Broadway and by all reports, the audiences have been very supportive. A few weeks ago, there was a post here asking “who would switch spots with Beanie right now” as if to say her life has been so terrible. Looks to me like she’s living the dream. She didn’t get nominated for a Tony but she has time. | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: Delvino 08:12 am EDT 08/01/22 | |
| Posted by: Delvino 08:09 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - KingSpeed 03:36 am EDT 08/01/22 | |
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| Two points: 1) If it was a negative experience, it wasn't manifest inside the August Wilson. She received the rapturous reception at every performance, per reports. Certainly at the Wednesday June 1 matinee I attended. In the middle of "Parade" she was given the Jennifer Holiday treatment. Screams erupted from the mezz. Every post I've read suggests a version of this house response. 2) She didn't sell tickets. The advance ended, the show fell $325+ one week and never returned to the above-a-million per of early performances. All over FB yesterday people who did not see the show were shouting, "but she was a sellout and they fired her!" Had she been a sell out, she would not have been released from her contract. This is Broadway. Yet the mythology continues. We can haggle over her performance, but these two pieces of the narrative, one via anecdotal evidence, one from hard numbers, should be included. The audiences liked her a lot. She was cheered. No word of mouth resulted in an increase of sales, and her final week - which some predicted would "sell through the roof!' - ended up on TDF for the final 5 performances. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: writerkev 04:15 am EDT 08/01/22 | |
| Posted by: writerkev 04:14 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - KingSpeed 03:36 am EDT 08/01/22 | |
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| Or it’s something between the two extremes. If she were truly living her dream, why on earth would she have left the show so early? She moved up her exit date twice that we know of. It’s highly unorthodox for the show to announce a replacement who’s not starting until a month after the first star leaves. An understudy is playing the role for that whole time. It seems like Beanie really wanted to hit the exit, and they are fine to see her go. None of that sounds like she’s been living a dream. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: ryhog 12:35 pm EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - writerkev 04:14 am EDT 08/01/22 | |
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| There has been a huge amount of projecting (on precious few facts) in all directions. I think it is fair to say, at a minimum, that this was a terrible miscalculation. And I think there is no one involved without a share of the blame. Time to move on and see if the next iteration ends up better. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: KingSpeed 05:01 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - writerkev 04:14 am EDT 08/01/22 | |
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| From my point of view, she's had it great. I would take the same opportunity and result that she has had. | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: Chromolume 08:02 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - KingSpeed 05:01 am EDT 08/01/22 | |
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| Well, she certainly has had something most of us don't get - a chance to star on Broadway. But it's been a lot more complicated than that, and I'm sure it wasn't the experience she expected. I hope she can separate the amazing part of it from the rest of the crap she has had to go through. I do wish her well. | |
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| re: Beanie Feldstein's Last Funny Girl (short and sweet) | |
| Posted by: dreamawakening 01:26 am EDT 08/01/22 | |
| In reply to: Beanie Feldstein's Last Funny Girl (long) - DanielVincent 12:35 am EDT 08/01/22 | |
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| I still want a refund for the high school caliber performance I saw. | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: Chromolume 01:23 am EDT 08/01/22 | |
| Posted by: Chromolume 01:16 am EDT 08/01/22 | |
| In reply to: Beanie Feldstein's Last Funny Girl (long) - DanielVincent 12:35 am EDT 08/01/22 | |
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| I have mixed/leaning negative feelings that about this revival, including its iteration in London with Sheridan Smith. I think Michael Mayer's leaden, frequently joyless direction exacerbates the problems in the text, and Harvey Fierstein's revisions did little to address them, often trying to fix the wrong aspects of the libretto.... ...And in the best possible way, the entire cast, Feldstein included, fed off of it and delivered the best Mayer/Fierstein Funny Girl I've seen. Seems like damning with very faint praise, if you ask me. (I know you didn't.) And what - you saw the show all of two times? |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: KingSpeed 06:22 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - Chromolume 01:16 am EDT 08/01/22 | |
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| It makes sense. He's seen the Mayer/Fierstein FG 4 times and yesterday's was the best of the 4 and, in his opinion, tremendous. | |
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| KingSpeed is correct. | |
| Last Edit: DanielVincent 04:13 pm EDT 08/01/22 | |
| Posted by: DanielVincent 04:06 pm EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - KingSpeed 06:22 am EDT 08/01/22 | |
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| I've seen the production four times if you count its incarnation in London. And I did not mean to damn yesterday's performance with faint praise. On the contrary, it was, as I said in my post, one of the most exciting afternoons I've ever spent in a theater. The symbiosis between the performers and the audience was so electric, it elevated the production to the realm of the fantastic, maybe even the mythic. And this was in spite of, not because of, Mayer's direction and Fierstein's revisions, which I maintain are subpar. |
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| re: KingSpeed is correct. | |
| Posted by: Chromolume 06:34 pm EDT 08/01/22 | |
| In reply to: KingSpeed is correct. - DanielVincent 04:06 pm EDT 08/01/22 | |
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| Thank you. This definitely clarifies your original post, and I appreciate that. :-) | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: writerkev 04:11 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - Chromolume 01:16 am EDT 08/01/22 | |
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| Sounds like three times if he’d seen the London version and Broadway in previews. | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: lonlad 05:30 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - writerkev 04:11 am EDT 08/01/22 | |
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| Um, 4 times in all, no? London/preview Beanie/Julie/yesterday. | |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: Chromolume 08:07 am EDT 08/01/22 | |
| Posted by: Chromolume 08:06 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - lonlad 05:30 am EDT 08/01/22 | |
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| It sounds to me like 3 times. (My apology, the part about the preview didn't register). It doesn't sound to me like he attended the show in London. Still, the general impression I get is that because the cast and the audience all bonded together because it was Beanie's last show (as any cast and audience might do at a lead's last show), the OP all of a sudden loves what Mayer and Fierstein did. I'm not so sure I buy that transformation. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Last Edit: lordofspeech 08:44 am EDT 08/01/22 | |
| Posted by: lordofspeech 08:42 am EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - Chromolume 08:06 am EDT 08/01/22 | |
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| Final performances do this. Everything comes together and there’s real magic. I don’t doubt it. Plus… What a fabulous backstory for the Beanie Feldstein saga and for her career. I don’t think she could’ve gotten better publicity if she’d been a critics’ darling or a Tony winner. A lucky girl. Hope she has a coach or therapist who helps her see the silver lining in all this drama. She must. |
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| re: Beanie Feldstein's Last Funny Girl (long) | |
| Posted by: Indavidzopinion 07:24 pm EDT 08/01/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - lordofspeech 08:42 am EDT 08/01/22 | |
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| For anyone who doubts Beanie’s talent, search for and view her portrayal of Monica Lewinsky in the FX American Crime series, or stream the movie “ Book Smart.” She will land on her feet after this. Onward and upward! | |
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| Beanie will be more than fine | |
| Last Edit: Chazwaza 08:38 pm EDT 08/03/22 | |
| Posted by: Chazwaza 08:20 pm EDT 08/03/22 | |
| In reply to: re: Beanie Feldstein's Last Funny Girl (long) - Indavidzopinion 07:24 pm EDT 08/01/22 | |
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| I didn't read this entire thread... but if anyone is suggesting Beanie won't land on her feet career-wise after this, they are bonkers. I'm not sure anyone is claiming that doubt or worrying about it. I don't think the issue is whether or not she has been good in things before FG, be it her film and TV work (like Booksmart, Lady Bird, Lewinsky or even a small recurring role in What We Do In the Shadows)... or on stage in Hello Dolly. She has proved herself a capable and winning talent as a performer, even in a musical before this. She is also very comfortable financially and with an enormous safety net in that aspect of life/career longevity, and very well connected from her life, family, and career so far (hell, her dad is a rich producer -- unrelated to his involvement in this revival, and her brother is one of the most successful actors, now an accomplished director too, in Hollywood, in comedy and dramas and he is even an Oscar nominee... those two people alone can do more for her career than most actors ever have in their safety net -- not to mention that most Ryan Murphy stars are invited back for many more lead roles in other series of his... if he likes you, you'll never starve) and has many fans beyond Funny Girl AND because of Funny Girl (maybe not as much from her performance as from the storm around it and the way it's all gone)... I'm sure she has projects lined up waiting for her to be done with FG regardless of the reviews and how the run played out for her. There is no chance of her not continuing to have a good career as a screen actor, and if she wants to I'm sure there will be stage productions that would gladly have her. I doubt they will be musicals that are built as vehicles for powerhouse singers... but, no one should spend a moment being worried for her bouncing "back". I think it's very possible many people that recognize and enjoyed her from her film and/or tv work don't even know this FG situation happened... like that a revival is on and that it was starring her, even. Many Broadway fans would be shocked at about little Broadway news or reviews or buzz impacts things in TV and film, if it even registers at all (at least in terms of the majority of tv/film audiences who aren't active broadway fans)... and it's not as if she was plucked from nowhere for FG and then flopped... people have lots to go on for confidence in her castability regardless of FG (which is, also, a very specific kind of role requiring a specific mix of talents/skills which I do not think most if any TV/film projects would be needing from her, so her pans in FG may be utterly irrelevant especially since most of them still say she is likable and charming and funny even if it's not enough to make her a fit or a success in FG). |
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