'Funny Girl' dazzles at Citizens Opera House

Sometimes, the choices we make today echo for years to come.

At least, that’s what my dad used to tell me growing up. I’ve learned that his sage advice often rings true regarding big decisions like love.

In Broadway in Boston’s glittering, nostalgic rendition of the musical “Funny Girl,” a young Jewish woman named Fanny Brice wants to be a star in early-1900s New York City. Her choice of partner shapes her life and showbiz career in ways she might not have imagined.

Played by an excellent Hannah Shankman with impressive vocal prowess, Fanny is charming and funny. However, her lack of conventional beauty has her mom — portrayed magnificently by long-time performer Melissa Manchester — and their poker-playing neighbors second-guessing her Vaudevillian aspirations. That is until she proves them wrong.

The excitement of Fanny’s ascension in “Funny Girl,” is contagious. At first, the slapstick comedy seems a bit stiff, but the show swiftly finds its footing. The ensemble sings and dances quite gloriously through Fanny’s quest for fame and her journey to finding love with the dashing and wealthy Nick Arnstein, portrayed by Stephen Mark Lukas, whom one character describes as having his hand in everything from horses to investments.

“Funny Girl” debuted on Broadway in 1964 to much acclaim. Starring Barbra Streisand as Fanny Brice, the show, with a score by Jule Styne and lyrics by Bob Merrill featuring such hits as “Don’t Rain on my Parade” and “If a Girl Isn’t Pretty.” The story became a film in 1968 and starred the golden-voiced Streisand, reprising her role onscreen.

The narrative is based on the real-life love story of Fanny Brice, born Fania Borach, and Nick Arnstein, born Julius Wilford Arnstein. While some of the details about their relationship in the script differ from actual events (some more scandalous than depicted in the play), the general gist is the same. The two fell in love as Brice’s celebrity soared, and they struggled to keep their relationship together. In 2015, Tony Award-winner Harvey Fierstein’s revised book premiered in London. And in 2022, the show had a controversial run where the lead actor portraying Fanny Brice, Beanie Feldstein, was replaced by “Glee” star Lea Michele.

In the play, Arnstein has a gambling problem and makes too many investments in what he believes to be sure bets. Soon, he feels stifled by his wife’s popularity and constant need for him to be present. Fanny’s mom warns early on that some men should be avoided, but those men typically get all the women. It’s evident to everyone watching that Fanny’s friend Eddie, a splendid Izaiah Montaque Harris, would make a better choice, but Arnstein is the more exhilarating option.

Between all the dazzling music numbers and Susan Hilferty’s gorgeous costuming — including rhinestone headdresses, white feather-trimmed outfits, plaid wool, and grey silk dress pants with a hint of sparkle — the friendship between Fanny and Eddie grows. He’s key to her success. He teaches her what he knows and helps her get an audition at a place called Keeney’s. Later, she becomes a leading lady with the Ziegfeld Follies — ornate stage revues by Broadway’s Florenz Ziegfeld, modeled after the Folies Bergères of Paris.

The role of Fanny is demanding, both vocally and comedically, and Shankman is up for the task, as proven during the number “People.” Her rendition of the popular song, Harris’ expert tap dancing (with brilliant tap choreography by Ayodele Casel, who recently wrote and starred in “Diary of a Tap Dancer”) and the full, lush sound of the operatic chorus are definite highlights. And, though Harris doesn’t get much time singing solos, his voice is beautiful.

In addition to the music, David Zinn’s scenic design, lighting by Kevin Adams, and sound design by Brian Ronan and Cody Spencer help thrust audiences into the era. There’s a bold, ombre backdrop that complements Fanny’s flapper-like dress, a vintage-style train station, and rows of projected brownstones beneath a cobalt blue sky and a bright, full moon.

But none shines brighter than Fanny and Nick’s romance. The cynical part of me waits for the proverbial shoe to drop. And sure enough, their passion starts to buckle under the weight of Nick’s gambling, losing money on business deals and his wife’s growing celebrity and fortune.

The show’s conclusion makes me remember Mrs. Brice’s advice and my dad’s.

Sometimes, the choices we make echo for decades to come. And sometimes, certain people probably should be avoided.

Broadway in Boston’s “Funny Girl” runs through Feb. 16.