If a Girl Isn't Pretty," as the ladies of Henry Street sing, she'd better be talented. Luckily, Fanny Brice, as portrayed by Catherine Randazzo, is. She's not only that Funny Girl. She does a high-energy turn from rough-edged aspiring entertainer to an ending as star of an ill-fated love story. But after a while away from the boards, local favorite Randazzo (who's far from homely) seems to have gained as actress but lost as a singer. Too often her high notes get left flat. Exactly the opposite is true of Chris Swan, in wonderful voice as gambler Nick Arnstein, the handsome love of Fanny's life. He avoids seeming predisposed, then too determined to dominate or vacate their marriage, even if Nick does walk away from their baby as well as Fanny.
The plot can be summed up as boy meets girl who becomes big success; they marry, and as he becomes a failure, so does their marriage.
Early 20th century New York figures in Fanny's humble ethnic background and later success in the Ziegfeld follies. As her Jewish mother, happy to be long rid of her husband, Roberta MacDonald is outspoken without being edgy. Also contrasting with Fanny, she's good looking and perceptive. Card-playing cronies are a stitch, but none more so than Kyle Ennis Turoff's delightfully gossipy, take-charge Mrs. Strakosh.
Though Eddie Ryan may not win Fanny's heart, charming dancer Dewayne Barrett, assuming his likeable persona, captures the audience's.
Always professional Ian Sullivan fits into Ziegfield's temperament and authority as easily as his evening clothes. It's also easy to believe Eric Berkel is his Lead Dancer.
Director Robert Ennis Turoff is lucky to have a good looking ensemble who follow his confident direction so well. Scenes shift and costumes, even the elaborate Follies outfits, change seemingly without effort. Everyone, musicians not the least, contributes to making Funny Girl more than a one-woman show with two show-stopping songs.
