A striking production of ‘Funny Girl’ – loosely based on the story of Fanny Brice, a comedic star of the early 20th century – is now playing at The Shaw Festival at Niagara-on-the-Lake.
A powerful performance by Toronto native Sara Farb leaves us with the question – Babs who?
Farb grabs the role with both fists and makes it her own. Big voice, big personality, and big silliness lend authenticity to her portrayal.
Far from a true biography, the musical loosely follows Brice’s chaotic career and equally chaotic relationship with notorious gambler and con man Nick Arnstein. Like a memory play, it begins at the end of their relationship when Nick returns from an 18-month prison sentence for fraud. Looking through the leitmotif of mirrors, Brice reflects on the seeds of her career and the journey to stardom.
Brice’s mother (confidently played by Patty Jamieson) runs a saloon where she and her cronies are at odds over Brice’s dream of theatrical success. Beginning with low-budget variety shows, she finds interest from Florenz Ziegfeld, impresario of the famed Follies of the 1920’s and beyond.
Brice’s career ignites as a singer, actor and, most importantly, as a comedian. Arnstein is immediately attracted to her dynamic personality (more than her physical attributes), and their relationship grows. Marriage and children ensue, and Nick’s career is seemingly as prosperous as Fanny’s.
But Nick’s dark side proves a hollow businessman and ultimate felon – they part ways as Fanny moves on with her life and career.
Farb’s performance has all the attributes of the zany Fanny Brice – slapstick antics, pratfalls, loud outfits and gregarious self-deprecation. All this, along with a big voice that fills the hall. One shoe on as she bounces along, or two shoes on her hands as she crawls on her knees – examples of her quirkiness that seem natural. Her New York Jewish accent is not overdone and suggests just the right touch of authenticity and spirit.
Big numbers like ‘People’ or ‘Don’t Rain on my Parade’ are sung alone on a wide-open stage – vulnerability is overcome by talent. Director Eda Holmes finds a way to bring intimacy to a huge empty soundstage.
Qasim Khan plays Nick Arnstein in a lower key. A good voice and comedic timing are evident in ‘You are Woman, I am Man.’ But he doesn’t rise to the energy of Farb’s performance – perhaps by design.
Matt Aflano plays long-time friend and fellow performer Eddie Ryan. A small but brilliant piece of choreography has Eddie in a solo tap number on a small piece of obviously well-reinforced luggage. A bright smile and positive energy bolster Fanny when she needs support.
Another resonating performance comes from Damien Atkins as Ziegfeld – the smooth, hard-nosed, paternalistic impresario. Atkin’s versatility demonstrates how Ziegfeld’s tough exterior is often chastened by Fanny’s sheer force of will.
Choreographer Parker Esse gets the most out of the support cast. Without the usual thousands of Ziegfeld dancers, he suggests the Follies ritual of smooth-moving over-costumed girls. Brilliant choreography is found in ‘Sadie Sadie,’ ‘Rat Tat Tat,’ and ‘Downtown Rag.’ The energy bolsters Farb’s performance.
As a period piece, James Lavoie rises to the occasion with his costume design. He matches Fanny’s personality with ridiculous blue bloomers, a bright orange travelling outfit, or a gaudy mustard-yellow dress. A decision about black-and-white stripes was a bit jarring. The girls looked elegant in vertical stripes, but the boys in horizontal stripes looked like inmates stabbing garbage beside a highway.
His set pieces suggested Ziegfeld’s colossal sound stages and elegant, twisting staircases. Many scenes took on a darkish, subdued tone reflecting some disturbing undercurrents.
Some clever stagecraft: The main curtain was in the style of what is known as an Austrian puff curtain. (I did some research.) With its scalloped style, it had much distinction. Lighting by Sonoyo Nishikawa added variety with colour and shimmer. At times it seemed to fall imperfectly, but instead it created various openings for subtle entrances and exits – most clever.
Fanny Brice was an outsized personality, showcasing the strength of a determined woman presaging the expanding role of women in general in the early 20th century. Sara Farb’s rendering was both graceful and hilariously poignant.
At one point, Fanny calls herself a ‘natural hollerer.’ That may be, but Ms. Farb is a natural talent.
‘Funny Girl’ by Jules Styne and Bob Merrill
Performers: Sara Farb, Matt Alfano, Patty Jamieson, Qasim Khan, Damien Atkins, and members of the Shaw Festival Ensemble.
Director – Eda Holmes
Music direction – Paul Sportelli
Choreography – Parker Esse
Set and costume design – James Lavoie
Lighting design – Sonoyo Nishikawa
Production runs through: October 3, 2026.
Tickets – shawfest.com
