A revival of Barbara Streisand’s much-loved autobiographical role, Fanny Brice, brings some much-needed humour to Bradford where Leo Owen caught the show

DESPITE the recent spate of UK terrorist attacks, Funny Girl remains a sell-out show, hugely anticipated for its leading lady, Sheridan Smith. Bags are searched on entrance and expectations are high but after news a mumps-ridden Smith has pulled out, the disappointment is palpable. Undeniably resulting in a sceptical first half hour for the audience, putting alternate Natasha J Barnes in a visibly tricky spot.

Michael Pavelka’s opening design mirrors The Grand with a gold-gilted stage interior, side stage door and spot lights surrounding. Facing a sexist society that favours hourglass figures we first meet our heroine frumpily dressed on stage, fighting for leading lady roles only to be told to “go home, meet a nice guy and have a couple of kids”. Director Michael Mayer utilises her mum and two poker-playing friends’ gossip to further the story. As she cheekily charms and argues her way to the top with renowned showman Florenz Ziegfeld, she meets her future husband racketeer Nick Arnstein (Darius Campbell of Pop Idol fame). Mayer employs light to represent Fanny’s inner monologue and occasionally has her mother’s voice strangely internalised, reinforcing her close-knit Jewish upbringing in a Brooklyn community.

Pavelka’s design fluidly charts Fanny’s success through neatly-stacked suitcases continuously being wheeled on and imprinted with varying country names in montage style. A red curtain covers the stage set and is spot tinted different colours to represent new locations, such as her mother’s saloon. The stage curtain is dropped for small linking segments, including the poker games and there’s a lavish alternative archwayed train back drop.

As is expected and vital for a musical of this distinction, performers and vocals are unanimously strong throughout. “His Love Makes Me Beautiful” is the comedic number that wins over the audience as Barnes flounces around the stage as a pregnant bride. Fanny and Nick’s duet “I Want to be Seen with You” is delightful to watch; “You are woman, I am man” is perfectly played for laughs and “Who Taught Her Everything She Knows?” showcases the talents of other lead character. Army song “Rat-Tat-Tat-Tat”, where Barnes plays an obese officer, makes her even more endearing as her false moustache creeps down her face much to her amusement, made all the more entertaining by her ad-libbing to a gentleman in the audience: “You, with the moustache, I think I’d like to borrow it.” But it is her final powerhouse reprise of “Don’t Rain on My Parade” that leaves us in absolutely no doubt that while touring Barnes is living the role.

Despite her slightly frosty welcome, Barnes gradually warms and melts her audience until they’re putty in her hands, unanimously honouring her honest and incredibly emotional performance with a much-deserved standing ovation.