Funny Girl - 4 out of 5 stars
The G&S Society of SA
TICKETS: https://www.trybooking.com/events/landing/1500638
While Funny Girl is celebrated for its score – propelled by the show-stopping powerhouse anthem "Don't Rain on My Parade" – its true emotional anchor remains the turbulent romance between Fanny and the charismatic but troubled gambler Nick Arnstein, a poignant exploration of the devastating cost when a woman’s meteoric success eclipses the man she loves.
In their compelling new production, The Gilbert and Sullivan
Society of South Australia and director Amanda Rowe brilliantly amplify this
complex psychological dynamic by taking the inventive risk of casting three
different actors to play the role of Fanny Brice. This unique staging choice
breathes fresh life into the show's central heartbreak; by fracturing Fanny’s
identity across different stages of her life and fame, the production
beautifully illustrates how the crushing weight of stardom ultimately fractures
her shifting, tragic relationship with Arnstein.
The role of Fanny Brice is shared between Olivia Sutton,
Sarah Hamilton, and Sophie Stokes and they each shine in turn, bringing Fanny
to life on stage. Sutton is tasked with Fanny’s early scenes as she breaks into
show business. Sutton leans into the comedic nature of the role with relish.
Her rendition of “I’m the Greatest Star” is appropriately brassy and in
your face as she convinces new best friend Eddie Ryan (Thomas Sheldon) to cast
her as a specialty act. And it is during “Cornet Man” – the act that
gets her noticed by Florenz Ziegfeld Jr (David Kilsby) – that we see our first
transition between Fannys.
Hamilton has the task of portraying Fanny’s success on
Broadway and stardom as part of Ziegfeld’s Follies – butting heads with Mr
Ziegfeld, disobeying him but proving that she knows what an audience wants.
It’s during this stage of Fanny’s career that Hamilton beautifully conveys
falling in love with Nick Arnstein (Daniel Hamilton) while rising to fame with
the Follies. Her rendition of “People” is especially moving, and she
should be commended for it considering the number of open mics backstage. The
triumphant Act 1 finale, “Don’t Rain on My Parade”, served as our
transition to Stokes’ Fanny, though all three got the opportunity to revel in
the song’s power.
Stokes steps into Fanny Brice’s shoes as she settles into
married life and then motherhood before the narrative takes a sharp turn after
a failed financial scheme for her husband Nick Arnstein leaves her holding the
cards and funding his next endeavour. Stokes portrays a proud but complex
mother that will most likely leave her child with a few issues due to her focus
on the importance of being pretty. While all that is happening, she still
demonstrates she has the comedic chops to play Fanny Brice in “Rat-Tat-Tat-Tat.”
The three Brices together on stage is a novel and ingenious
way to handle the internal dialogue of the role. Rowe has distilled an idea she
has seen previously to support the message of the show as opposed to being an
opportunity to just have as many people sing the role. It’s an approach that
should be seen by audiences beyond the Adelaide community theatre scene.
Kerry-Lynne Hauber’s choreography captures the spirit of
vaudeville and The Follies. Its clever integration into scene changes ensures
there is no dead air or dark stage to let the audience’s minds wander, while
still providing breathing space between scenes.
Rowe and Karen Sheldon (Assistant Director) have put a lot
of time into the supporting roles and ensemble, building a cohesive cast that
knows what they need to do and how, most importantly, to cover for little slips
like dropped props.
Dylan Rufus has done an admirable job bringing the 18-piece
orchestra to the stage. A single instrumentalist on each of the three string
parts is always difficult to blend and he mostly achieved this. It’s clear that
he was listening to the vocalists on stage and keeping his orchestra balanced.
Of the ensemble and supporting cast – all of whom gave great
performances – I must note Danii Zappia’s amazing voice (Emma/Ziegfeld Tenor)
during “His Love Makes Me Beautiful”. I also must congratulate Sheldon,
Carolyn Adams (Mrs. Brice), and Wendy Rayner (Mrs. Strakosh) for their number,
“Find Yourself a Man”. Their comedic timing and harmonies are a reminder
that there are some roles outside of Fanny Brice that are a joy to see
performed. Daniel Hamilton’s Arnstein was the right amounts of charming and
smarmy (much more of the first than the latter), culminating with his rejection
of offered support and ultimately love.
David Lampard’s set is colourful and remarkably versatile,
seamlessly shifting across multiple scenes. Helen Snoswell’s costumes (of which
there are many) fit the bill, with every single piece supporting the
performances. A few slightly wider follow spots and some footlights would have
been the icing on the cake for Michael Bentley’s otherwise great lighting
design. The sound design and operation is perhaps the one technical let down of
opening night. Persistent live mics from backstage ruined two key emotional
points in the show; it was at its worst in Act 2 as the operator struggled to
find the correct mic cue. Stokes and Daniel Hamilton are to be commended for
not being thrown.
The Gilbert and Sullivan Society of South Australia take a
risk with Rowe’s vision for Funny Girl and it has paid off. A new take on a
classic, giving it new depths to explore. This show should be on your must-see
list for 2026.
- Scott
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