Review! Funny Girl starring Sheridan Smith (in cinema!)

As someone who did not get to see the revival of Funny Girl at the Savoy Theatre in 2016, I must admit to a certain trepidation. Recently, we’ve been treated to some expertly handled pro-shoots of live theatre, most notably Hamilton and Frozen the Musical, which have taken Disney+ by storm. However, I have always been of the impression that a pro-shoot cannot come close to the magic of live theatre.

Watching Liberator’s recording of Funny Girl, however, not only reminded me why I love musicals, but also captured a different side—one that simply cannot be seen from the back of the stalls.

The production itself is a joyous one. Directed with real class and honest simplicity by Michael Mayer, this revival of Funny Girl puts character front and center and, despite its initial vaudevillian feel, allows itself to embrace a melancholic and dreamlike style of storytelling. At times, I was reminded of the most recent revival of Hello, Dolly! and how that balanced pathos and comedy; watching this pro-shoot, it’s clear to see where the inspiration comes from. Lynne Page’s choreography has an elegance in its romantic numbers and an extravagant pizzazz in its big chorus moments, capturing the showbiz excitement of the Ziegfeld Follies, where Brice comes to fame.

All of this is captured brilliantly in Trafalgar’s recording. The joy of theatre, especially this style of musical theatre, lies in seeing dance and performance in an unbroken form, and this comes close to replicating that. The editing of the dance sequences put me in mind of the pace of a Gene Kelly number, unfolding gracefully on screen with minimal cutting. However, the real pleasure comes in the way this recording highlights raw emotion through the art of the close-up—something one would struggle to see through a proscenium arch. Whether it’s a lingering close-up of Sheridan Smith singing My Man, or Joshua Lay’s incredible tap routine as Eddie, this recording captures everything that a live recording of theatre can offer.

However, the greatest accomplishment is how it immortalizes Sheridan Smith’s barnstorming performance as Fanny Brice. Taking on the titular role is no small order, having been made famous by Barbra Streisand in the original Broadway production in 1964, and later in the 1968 film adaptation. Smith’s performance is simply sensational: capturing the Jewish nuance and plucky charm, you root for Fanny along her journey from outcast chorus girl to star, and eventually as she finds love with Darius Campbell’s suave but ultimately deceptive Nick Arnstein. You find yourself laughing and sobbing in equal measure.

It is very clear that comedy is being used as a shield of armour in Smith’s complex performance, and this is evident in the way she delivers the musical numbers. I’m the Greatest Star is a showcase of comedic charm, with heightened facial expressions and playful physicality; People is delivered with a melancholic longing for human connection; and the finale is a gut punch. It is a stunning performance, worthy of immortalization within the theatrical history books.

We also get fine performances from Rachel Izen as Fanny’s loving and devoted mother, and Martin Callaghan, who plays the role of Mr. Keeney with aplomb, relishing each comedic line. However, the show has also taken on a greater sense of melancholy since its leading male, Darius Campbell, tragically lost his life in 2022. It is a true privilege and honor that we are able to witness his sophisticated performance, full of presence and grace.

Due to be released in cinemas shortly for the production’s 10-year anniversary, Funny Girl: The Musical is a must-watch for fans of musical theatre. Filmed with grace and elegance, and filled with powerhouse performances, I felt like I had been given the best seat in the house for one of the great revivals in recent memory.

Well done, gorgeous!

⭐⭐⭐⭐⭐

Written by Alex Farley on behalf of The Theatre Flyer