![]() What serves the show most is her singing, making a triumph of the first act musical trifecta of “I’m the Greatest Star,” “People” and “Don’t Rain on My Parade,” with plenty of power notes left over to elevate the rest of the Jule Styne-Bob Merrill score. Michele is clearly a beauty that a period wig can’t hide, but we nevertheless sign on to the delusion.īut is this “Funny Girl” funny? While Michele doesn’t transcend the schtick and corn of the script, she makes the most of what she has been given with playfulness and without pandering. Some of Fanny’s insecurities, beneath her bravado, are rooted in her issues of class, education and looks. Her well-seasoned acting chops (she’s been on Broadway stages since she was 9) allows her to calibrate Fanny’s mix of raw ambition, neediness, nerve and vulnerability. ![]() Michele’s maturity especially helps in the show’s second half, when the actor is able to lend this Fanny an emotional depth that is lacking in the script. ![]() Older since her “Glee” days - she’s 36 now - the actor brings a welcome maturity to the role of Fanny Brice, the part that launched Barbra Streisand into the stratosphere. But better late than never for this “Funny Girl 2.0.” It’s a bit of a re-discovery of Michele as well. ![]()
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