Funny Girl

Fabulous Funny Fanny at the Fugard

by Louw Mulder

It is not the first time I have had the privilege to review a Fugard Theatre Production, but it is the first time I am writing about a production performed at the Fugard Theatre. Being in Cape Town is always an experience for a Gautenger like me, and to see a professional musical like Funny Girl  on its home stage, completes a perfect visit. I was pleasantly surprised with the Fugard Theatre itself, it has a very nice, intimate, friendly and arty feel. I think it is a brilliant idea for out of towners to include a visit to this theatre when traveling to Cape Town.

After a successful run of West Side Story in Cape Town and Johannesburg, and returning to the stage in 2018, Eric Abraham and the Fugard Theatre have produced the 1964 Broadway hit, Funny Girl, The Musical – the stage production most theatre critics say was Barbra Streisand’s big break when she played the lead role in the original production at the Winter Garden Theatre.

Even though it is a treat to see experienced musical theatre actors and actresses perform, nothing beats that feeling of being impressed and blown away by performers I have seen for the first time in a lead or prominent role. The Fugard Theatre is becoming a key player in providing these opportunities with the likes of Shaun Smit in Rocky Horror, and most recently Lynelle Kenned in West Side Story. With Funny Girl, they did not disappoint.

With names in the cast becoming more and more familiar to the regular theatre junkie like myself, Funny Girl did not fall short at all. But I have to elaborate on two of the performances that made me excited for what is to come in the future.

In the lead role, playing Fanny Brice, is the remarkable Ashleigh Harvey. Harvey has also appeared on the cast list for Rocky Horror, and Shrek – the Musical, but Funny Girl is the production where she has really imprinted her talent in the industry. The role is complicated in my view, as it needs a strong voice, and also an actress that plays a not-so-clever, naïve girl, who grows into a mature lady towards the end. Harvey was outstanding, because she was funny when she needed to be, sincere when the role required it to be, and also forced complete silence in the audience when she showed off her vocal abilities. In character, she also does look like a Fanny…

The performance I remember most distinctly, is that of Cameron Botha, in the role of Eddie Ryan. His credits in musical theatre include performances in West Side Story, Sweeney Todd, Peter Pan Pantomime, as well as a whole lot of Afrikaans productions. Even though these were smaller roles, Botha is getting sexier and more mature as an actor in his own right. The distinct characteristic of an impressive performance, is someone who owns the stage, consumes the attention of the audience member, making the stage look small and irrelevant. This was Botha on the night.

The rest of the Funny Girl Company includes Clyde Berning, Kate Normington, who also played her role brilliantly as always, Diane Wilson, Michelle Maxwell, Grant Towers and well known acting veteran, Mike Huff. The boys in the ensemble cast includes Sven Eric Muller, Sibusiso Mxosana, and Daniel Fisher.

The ladies added the snazzy, glitz and sex appeal needed to complete the cast line-up. Lucy Tops, Jenna Robinson-Child, Tyla Nurden and Tamryn van Houten played their roles with a high standard, alongside the more experienced Ambre Chanel Fulton, Michele La Trobe, and one of our most promising theatre actresses, LJ Nielson.

Innovative sets, and smooth transitions between scenes is also something that is mostly overlooked by many patrons, but for me, it is something that can make, or break a pertinent element of a stage production, namely the flow of the show. With a revolving stage, Saul Radomsky designed a set that promotes such a suave flow between scenes, which does not distract the audience from the story unfolding.

Even the costumes were classically appropriate for a story that plays off in the 1960’s, and I think Birrie le Roux did a fashionably remarkable job in designing them. Daniel Galloway and Benjamin du Plessis were responsible for illuminating the stage, and Mark Malherbe completed the creative team as the sound designer.

One of South Africa’s top maestros, and also resident Musical Director to the Fugard Theatre, Charl-Johan Lingenfelder, was in charge of the music. Louisa Talbot, also with a remarkable resume, worked out the moves, as choreographer for Funny Girl. The music was powerful and classical, swing and cabaret at times, but whatever the genre, it was melodically orchestrated. The dances, moves and steps, were in sync with the music, and under the leadership of multi-award winning director, Matthew Wild, the production of Funny Girl was set to be a success from the word go.

Us in Gauteng pray with you Cape Townians for rain, but Don’t let it Rain on My Parade.

You can visit www.thefugard.com for show times, and ticketing information.

 

This review was edited by Bronwyn Kerry.  Photos courtesy of the Fugard Theatre