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[1:01] Jeffrey Scott Parsons: Welcome, everybody, to A Musical Theatre Podcast where we discuss the cultural and emotional impact of some of our favorite musicals in theater history. My name is Jeffrey Scott Parsons. You can call me Jeff. Today we are discussing the musical FUNNY GIRL, which was a listener request from Althea, who wrote in and said, quote, My musical request is one of my favorites, FUNNY GIRL, exclamation point, exclamation point. I first saw the show about a year ago with the national tour and fell in love with it, which like blows my mind that your first introduction to FUNNY GIRL is like a national tour and not Barbra Streisand, like incredible. Anyway, my guest is already like losing her mind over Fanny Brice's story of resilience and perseverance against the odds when people are hating on you, realizing that you are fabulous even after a terrible, toxic relationship.

This all came at a very important moment in my life when I needed that sense of self-love and confidence, especially in the theater world. Unquote. Oh, my gosh. I got chills just reading it. Thank you so much, Althea. Your perspective actually really unlocked something for me for this episode, so I hope you enjoy this. Now, here to discuss the musical with me is another FUNNY GIRL, if you will. Ruby Karp has been doing stand-up comedy since she was 11 years old. She just starred opposite Charlie Puth in the improvised comedy series The Charlie Puth Show, which was created for her based off of her viral videos at Betches. Love saying it like that. Her off-Broadway show I Don't Trust Adults opens March 26th and runs until May 3rd at SoHo Playhouse. Everyone, please welcome the wonderful Ruby Karp.

[2:41] Ruby Karp: Yay!

[2:42] Jeffrey Scott Parsons: Hey!

[2:46] Ruby Karp: Thank you so much for having me.

[2:48] Jeffrey Scott Parsons: Thank you. Are you kidding me? I cannot wait to get into this. The ways in which I've forced so many people in my life to watch FUNNY GIRL, and then they'll watch it and they'll be like, oh, I see where you get all of your personality, style, man. Everything about you I see. It's not original. It's stolen. It's stolen valor. And I'm like, yes. That's a girl. I'm so excited to talk to you about it. I love anybody who's willing to go into a 1960s musical with me. I get plenty of people who are like, let's talk about Hamilton. I'm like, can we talk about FUNNY GIRL, maybe? We're super grateful you're here. Now, you have already led many lives in your short time here on Earth and have been in the business of show longer than people twice your age. So that's kind of what this show at Soho Playhouse is about, right? Can you talk to me about it?

[3:37] Ruby Karp: Yes. So FUNNY GIRL is a huge through line in my show because I... So when you were like, you were like, so what's your connection to FUNNY GIRL? And I was like, well, in my mind, we are very connected. But in the real world, I do have zero connection to the show, but I have forced myself into the FUNNY GIRL narrative because basically my show, my show is called I Don't Trust Adults. And it's about, I was a child comedian, but I was also a child actor, child activist, child journalist. And I published a book when I was in high school. Yeah. I'm so grateful. I just want to say like, I'm so grateful YouTube didn't exist when I was younger. You know what I mean? I'm sure you know what I mean. Be so thankful.

Because now, now we talk about digital footprints. And I'm like, oh, oh, you don't even know. So for me, my show is called I Don't Trust Adults because of course, as you can imagine, I interacted with so many varying insane adults as a kid. But the biggest thing that really happened for me was in many ways, people told me, like, no, people told me, you're not good enough, you're not talented enough, all of these things. So now I'm 24. And when I was like 15, I was like, I'm going to kill myself if I'm not like the most famous girl in the world by 22. And now I'm like, that's not how aging and the world and success and anything works. And also, it's like, it's so toxic to, you know, convince yourself that you have to do anything by the age of 22.

But I've always connected very deeply with Fannie's need to be acknowledged for her talent. And, you know, just I'm a Jew from New York who wants to be on Broadway and theater. It's like, Fannie Bryce in so many ways is the perfect slate for all of us to project ourselves, all girls with brown hair in theater to project themselves onto. Because that's a great take. What girl with brown hair in theater has not been like, wow, I need to make sure people think I'm different than everyone else. And I think it was always the blonde girls forever, forever, right? And it's like, I know that it's like, there's so much bigger issues in theater of the world. But it is, I think FUNNY GIRL so perfectly captures what you realize when you're 14.

And like in theater class of like, oh my god, like, there's like a blonde girl who can sing soprano. And I'm over here being like, and make sure the cows are sleeping. Like, I'm like, they're like, I'm like the weird old maid, like who has like a alto line, because I can't really master of the house. Yeah, exactly. Like, I think FUNNY GIRL is a show for those people, and everyone else, but I think it I found it particularly resonates with the funny girls.

[6:40] Jeffrey Scott Parsons: Oh, 100%. So let's dive into this because let's go in. I'm ready and and ready. So Fannie Bryce, born 1891. Fania Borak, real person, real person, real person that this is based on. She only lived until the age of 59, which kind of blows my mind. Speaking of like living a lot of lives in the course of small amount of time. We'll talk more about her life when we go through the show. But she was a big comedy and music star. She was huge in radio, we forget how big radio was from the 1930s until her death. Funny enough, I was watching a documentary on Lucy and Desi. The one that Amy Poehler did with it. Didn't you do like a video with Amy Poehler when you were seven or something? A lot of what my show is about is I grew up at UCB, which is how I got that's how I got into comedy at a young age.

That's crazy. Crazy. Okay, so anyway, I was watching the Lucy and Desi doc that she did. Their writer of I Love Lucy, Jess Oppenheimer, was a writer for Fannie Bryce, and she wasn't a huge fan of his. And so she kind of stopped working with him. And then he went to Lucille Ball. So like, if you want to talk about how big Fannie Bryce was, we're talking, you know, even bigger than Lucy around this time period. Now, Nicky Arnstein, Nicky Arnstein, Nicky Arnstein was actually her second husband of three. But it is so chic to be divorced in like the 1900s. When that like wasn't cool, because now it's cool. But back then it was like, whoa, no, she she's so real for that. She had no problem, like sending over the papers and saying, you know, adios.

But that doesn't mean that she had great taste in men. But with him, she had her two kids, Francis and William. Now Francis, fast forward, married a film producer by the name of Ray Stark. And he was the one that became the leading force behind getting something, a movie, a biopic, something about her life. Fannie Bryce put into, you know, mainstream entertainment. It started out with a book. He wanted somebody to write a book. She was never happy with any of the books that were written about her. And so he even at one point, I think had to pay $50,000 to stop the presses and keep a book that she was not happy about from being released. The book that did end up passing her test was a book called My Man, which was named after her big song.

It was written by a woman named Isabel Lennart. And she, because she got the approval from her book, used that book to then create the script or the book for the musical. So she is both the writer of this little memoir and the musical FUNNY GIRL, which is cool. And what what came first, the music and composition or the book?

[9:41] Ruby Karp: Definitely the book, because she had written the book based on Fannie's life before the musical happened. And it was turned into a screenplay first. So they were trying to go the film route. Then Mary Martin of like South Pacific Sound of Music fame, reads it and says, you know, this should probably be a musical. So then they pivot from making it into a film into making it into a Broadway musical. They reach out to Julie Stein and Stephen Sondheim, who had had a huge hit writing Gypsy for Ethel Merman, to write, you know, yet another star vehicle for a really interesting female character. Sondheim said no, probably mainly because he was done writing just lyrics at that point. He wanted to do music and lyrics, but also because Mary Martin wasn't Jewish and he's like, you need, we all know what you need for the character Fannie Brice. Mary Martin eventually like leaves the project. And so then...

[10:43] Ruby Karp: And can I just say, I think it is so interesting that the person who wrote the like lyrics for Gypsy wrote the lyrics for FUNNY GIRL, because those...

[10:50] Jeffrey Scott Parsons: Well, it wasn't. Sondheim did the Gypsy, but the same composer, the same composer.

[10:57] Ruby Karp: Sorry. No, no, no. I think I find that to be so interesting, because I do find these musicals to be like sonically, and also just in terms of vibe, in terms of like the kind of person who is drawn to both of these pieces. They're quite different, but they're also quite similar. It's about the drive and the want to be seen and acknowledged and heard as a woman, as a performer, as like an aging person. And I find it so interesting that there's overlap in those two projects here.

[11:29] Jeffrey Scott Parsons: It's such a good point. I love Julie Stein so much because he is a very empathic composer, and yet he knows the showbiz of it. He's always going to give you jazz hands, but it's so tied, like you said, to a deep emotional need and want to be seen and heard and loved. And the composition feels that way, like it's grand. You can feel it in the music, this want. And I know nothing about music composition, but it's just an emotion. It's just a feeling. It's truly like the cliché of music makes you feel things. Music can make you emotional. And it's even without the lyrics, you can feel it in the overture, and obviously in Don't Rain on My Parade. But it's like these big, big numbers that is just one person singing. I think that is so rare. And honestly, I feel hard to find in modern theater.

[12:25] Ruby Karp: No, it's so true. When you're thinking, okay, everybody's coming up roses, roses turn, and then you're like, what's another one? Okay, Don't Rain on My Parade, same person, same person wrote all of that for these incredible female characters. And what's even crazier is the same season as FUNNY GIRL, you also get another parade.

[12:44] Jeffrey Scott Parsons: Exactly.

[12:44] Ruby Karp: Before the parade passes by from Hello Dolly. We'll get into that. Oh my gosh, there is so much theater and Broadway history. Oh my gosh. Now I got some flack on past episodes because a couple listeners felt that I didn't give Bob Merrill the amount of love that he deserves. He's great. He wrote Carnival. He wrote the lyrics to FUNNY GIRL for Crying Out Loud. My point when I was talking about him was that even though he was a wonderful composer and lyricist, the things of his that have stood the test of time have been the lyrics to FUNNY GIRL. No question, right? And it is such, such great work. So shout out to Bob Merrill, who had a very tragic emotional life, but so happy that we have his work with Julie Stein on this. They end up working together a lot after the show. Okay, so then we have Julie Stein, we have Bob Merrill, we have Isabelle Leonard, who's written the book. Now we need to find a director.

[13:37] Ruby Karp: Okay, but we have to touch on this director who's named Garson Kanin. He comes in. He has written the play Born Yesterday. Have you heard of that play? It's Judy Holliday. Funny enough, now that I think about it, another story about a woman who is overcoming the view of her life.

[13:59] Jeffrey Scott Parsons: The world and the judgments because of her looks. Although it's kind of the opposite in Born Yesterday. Everyone thinks that she's dumb because she kind of has a squeaky voice and she's blonde and everything. But then actually, she's really smart. A very, very popular play that turns Judy Holliday into a star. He also directed Diary of Anne Frank for crying out loud. So, you know, he's a goody. He comes on as director. Now, this is where the drama begins. And I really wanted to begin our conversation talking about Fanny Brice for a hot moment, because literally she's never spoken about in this process from here on out, because it is one of the most drama-filled processes of creating a Broadway musical in history, like right up there with Camelot when everybody ended up in the hospital at one point or another. Are you down? Are you down to hear about it?

[14:52] Ruby Karp: I'm so down. I had no idea about any of this.

[14:55] Jeffrey Scott Parsons: OK, when they begin the process of putting together this musical, this incredible creative team, kudos to all of them. The number one question is, who are we going to get to play Fanny Brice? Enter Barbra Streisand, who at this point had made a big splash in a small role in I Can Get It for You Wholesale on Broadway. She was remembered and brought in to audition and kind of from the get-go. I mean, it has to be her, right? She's so unique. And as the process goes along, she keeps getting better and better and better. She's someone who, yeah, probably nailed it from the get-go. But like the more she did it and the more that they changed the show to not only capitalize on her gifts, but allowed her to have say in the show, it just becomes this juggernaut of a debut and a star debut. Well, I don't know how long it took them to develop it, but I know that when it debuted, she was like 21. So I'm sure she was also just growing as a person and a performer.

[16:01] Ruby Karp: Great point. I have this great quote from the book writer Isabel Leonard. Isabel was asked to roast Barbara a little bit during her 1969 salute at the Friars Club. That was like the OG roast masters. She came prepared with all of this great material. And this is how her speech began. Did I have trouble with Barbara? Don't ask. And everybody laughs. I'm sure you can imagine. Ha, ha, ha, ha. She proceeds to then go through all of the ways that Barbara was a huge pain in the butt. But they were also backhanded compliments. For example, she says, you can argue when an actor says, I hate this scene. It stinks. But Barbara never did that. She just looked at the page and turned a delicate almond green.

And you can't argue with green. With some actors, you can say you want a new scene. You don't even know the old one. And you've had it for two months. But how can you say that to Barbara? Get a new scene to her at two in the morning and she'll perform it perfectly the next night. I know I did it for 30 nights in a row. And then there's the greatest of all writer gambits. You don't like that line. Fine. Write one yourself. I hate admitting publicly that I'm a coward, but I never, not once, dared say that to Barbara. I was too afraid that she could, that she would, and that it might, might, mind you, be a better line than mine. Well, there it is. That's the kind of trouble I had with Barbara. And if you're a writer, it should only happen to you.

[17:34] Jeffrey Scott Parsons: Oh, isn't that so nice?

[17:37] Ruby Karp: Yeah. And I love how people paint this picture of Barbara, of this just like she is Fanny. She is everything you want her to be, everything you imagine her to be like. Wow. I don't know how this wasn't written directly for her because nobody. And it's like this is still an issue. It is so hard to recreate that magic because she really is just born with it.

[18:02] Jeffrey Scott Parsons: Yeah. And to your point about her being so young and maybe you can picture this, imagine being 20 years old and just realizing in your first Broadway show that maybe you're actually also a writer, director, producer. It's amazing. Like, I love her creativity. It's so inspiring. The other thing that I find fascinating about Barbara is that I'm not entirely sure she's how do I say this? She very well may be a lazy person. Like, I don't necessarily think she likes to work that much as dynamic as she is and as talented as she is. She hasn't made all that many movies, right? Because I think it has to be a perfect match for her to be like, yeah, I'm going to dedicate this much time of my life to doing it.

And I think that that lesson started here in Funny Girl. I have another quote that I want to read. Well, when this is your first project, it's how do you go from this to, you know, a straight to DVD, whatever that looked like. Very point kind of kind of film. It's I think it's Tarantino who has the like 10 movie rule of like movies. These projects take from start to finish five years, all of them. And to devote your life and your time, especially when you know your worth and your talent, why would you do some project that you know is going to flop?

[19:30] Ruby Karp: Absolutely. Not to mention, like I said, this one was rocky. And so the creative team was constantly fighting about how to even tell her story and what things should be included. One of the biggest fights was how this show should end, if she should end the show singing My Man or in the show singing The Music That Makes Me Dance. And, you know, Julie Stein, the composer, is like this is a show of original music. We have it has to be an original song. And meanwhile, the producers are like it has to be My Man. It has to be My Man. They went through 40 or so. I mean, that's why Isabel was like, I did it 30 nights in a row. They went through 40 different versions of at least the final scene. Here's the quote from Barbara.

She says, The more they changed the scenes, the more I liked it. The more I had different songs to try out, the more I loved it. We had 41 different last scenes, the last one being frozen only on opening night, 41 versions of a last scene. That was always exciting, stimulating. But once they froze the show, I felt like I was locked up in a prison. I couldn't stand it anymore. I could hardly get through one performance. That's what drove me into analysis. Funny Girl on the stage. No one knows the truth about it. I was on the cover of Time and Newsweek in the same week or something like that. I immediately started talking like her on the cover of Time and Newsweek in the same week. I thought, what do people expect of me?

Anyway, I find that so interesting that it was the consistent thread of what theater is, which is how do I make it new every night while doing exactly the same thing that she was not honestly a fan of? And once again, I think reveals what a perfect fit she is for film because like explore, go crazy, do whatever you want. But we only need you to really do it once. And I think it really speaks to her comic sensibilities because the one I think the one really big difference between theater and comedy, comedy in the stand-up kind of sense, sure, is theater legally has to kind of stay the same. Once you put a show up, there are rules that it's like the famously Alphabuzz can't go crazy on the riff because there are rules.

And I think as a comic, you have jokes that you must stick to. This is your set. These are the lines you have written. But you as the writer, as the performer, have the freedom to play with the punchline, to riff, to make a new choice. And theater traditionally doesn't allow a lot of room for that. So I can totally see why she was at a bit of a crossroads in terms of creative fulfillment because it's not fun as a comic when your whole thing is playing to not be able to play.

[22:19] Ruby Karp: Yeah, I love the way you said that. Thank you. Which do you prefer, by the way? Can you say you are doing a one-person show? Are you riffing on it?

[22:25] Jeffrey Scott Parsons: Oh, so that's been the hardest thing for me is gearing up to this. We're doing six weeks at Soho Playhouse. Gearing up for it. So cool, by the way.

[22:36] Ruby Karp: Thank you. Well, it's so long and it's like I want to give people for those six weeks the same performance. But I have this urge every time we run it. I have this urge to be like, oh, my God, just you guys know, like a little tangent right here. And it's like and my director will be like, love you so much. You can't do that. And so it's finding ways in the material that I've written that we've locked to explore and to make a new choice. And so maybe that means it's about noise. It's about movement. It's about tonation. And a lot of that is reacting to the audience, which I would assume for Barbara. I'm sure that's where she found a lot of solace in, you know, different crowds react to different things. If I ever got to interview Barbara, that would be a question I would totally ask.

[23:26] Jeffrey Scott Parsons: It's so funny. I wasn't going to bring up this quote, but with what you said, it feels perfect. She said in an interview with the Sunday Bulletin, Wednesday matinees were always the toughest. It's mostly ladies and they come more to have a good time than to see the show. It's a little strange. All women, you need men in the audience and then Saturday matinee is the best audience, right? Like she is the type of analytical person who's going to be like, all right, here comes Wednesday. Because you feed as a performer. You find joy in audience reaction. It's not even about it has nothing to even do with like, I need to test the material. It's more like it's like the Tinkerbell. You need applause to live. You need it. It's symbiotic.

[24:10] Ruby Karp: Absolutely.

[24:12] Jeffrey Scott Parsons: Yeah. And it fuels your performance. It makes you better.

[24:15] Ruby Karp: Exactly.

[24:16] Jeffrey Scott Parsons: One hundred percent. So as they're trying to figure out this show, everybody's kind of fighting. Everybody's kind of intimidated by everybody else. Everybody has opinions. The producer, who bless her, is, you know, related to Fanny Brice, but doesn't have any experience really producing a Broadway show, decides that the problem is the director. And so he manages to convince the one and only Jerome Robbins. Good old Jerry. My friend Jerry, West Side Story fame and everything else, to come in and fix the show. So he comes in as like a Hail Mary. And it's under his tutelage that the show opens on Broadway in the 1964 season. It is one of the best Broadway seasons of all time because here, let's talk about the four musicals that were nominated for Best Musical. We had Hello, Dolly. We had Funny Girl. We had High Spirits. Do you know High Spirits?

[25:18] Ruby Karp: I don't. I'm so sorry.

[25:20] Jeffrey Scott Parsons: No, please, please. It's based on the Noel Coward play. And then She Loves Me. It was She Loves Me. Isn't that a great four?

[25:30] Ruby Karp: That is a crazy year.

[25:32] Jeffrey Scott Parsons: Here's what's even more insane. Let's go to Best Original Score. OK, nominees for Best Original Score were Hello, Dolly, High Spirits, Funny Girl and then 110 in the Shade, which means She Loves Me wasn't nominated for Best Score. And it means 110 in the Shade wasn't nominated for Best Musical, both of which I find kind of insane. The other musical that we haven't even touched on was Anyone Can Whistle. Do you know that Sondheim show?

[26:00] Ruby Karp: Oh, of course.

[26:01] Jeffrey Scott Parsons: So that wasn't nominated for Best Score or Best Musical. And Angela Lansbury, who was playing the mayoress, was nominated for Best Actress. Oh my God, because the competition was the best leading actress, Carol Channing for Hello, Dolly, Beatrice Lilly, who if you've ever seen The Early Modern Millie, she's the lady who's in charge of white slavery. And Barbara Streisand in Funny Girl and Inga Swenson in 110 in the Shade. So no, Angela. Like this was such a crazy competitive year at the Tony Awards. Barbara doesn't win. It goes to Carol Channing. And of course, she had her comeuppance when Barbara Streisand got to do the Hello, Dolly film instead of Carol Channing. But my gosh, what amazing musical theater coming out this year. I envy the people who got to see that theater for the first time in that same season.

[27:45] Jeffrey Scott Parsons: I cannot. It's like it really makes you be like, wow, Carol Channing must have really done an amazing job in Hello, Dolly. That's when the veteran business comes into play because as much of a natural.

[27:57] Ruby Karp: Oh my God. And it's so interesting because I was looking at the awards for Funny Girl, the film and Funny Girl, the musical. And I remember being so shocked because Barbara, spoiler, wins the Oscar for Fanny in the movie, but she didn't win the Tony. And I was like, I was shocked because I've never seen a tape of Barbara on Broadway doing Funny Girl. But I can only imagine how amazing she was because like I said, so much of being a comic is feeding off of the audience. And if she was able to give that authentically funny of a performance in the film, can you imagine the energy, the stage presence, the star power that you must have felt being in that room with her?

[27:58] Ruby Karp: I think one of the most interesting things about "Funny Girl" is how it really captures the essence of Fanny Brice's character. She is so multifaceted, and the musical does a great job of showcasing her humor and vulnerability.

[28:28] Ruby Karp: The way she navigates her relationships, especially with Nicky Arnstein, really highlights the complexities of love and ambition. It's not just a straightforward love story; it's about a woman who is trying to find her place in the world while dealing with the ups and downs of her personal life.

[28:48] Ruby Karp: And let's not forget about Barbra Streisand's iconic performance. She brought so much depth to the role, and her voice is just unforgettable.

[29:08] Ruby Karp: I mean, when you think of "Funny Girl," you immediately think of her rendition of "People." It's such a powerful moment in the show.

[29:28] Ruby Karp: The way she expresses Fanny's longing and desire for connection is something that resonates with so many people. It's a timeless theme.

[29:48] Ruby Karp: And then there's the whole dynamic with Nicky. He’s such a complicated character, and I think a lot of people have mixed feelings about him.

[30:08] Ruby Karp: On one hand, he’s charming and charismatic, but on the other hand, he’s also quite selfish and manipulative. It’s hard to root for him sometimes.

[30:28] Ruby Karp: I think that’s part of what makes the story so engaging. It forces the audience to grapple with their feelings about love and loyalty.

[30:48] Ruby Karp: And Fanny’s journey is so relatable. She’s trying to balance her career and her personal life, which is something that many people can identify with.

[30:58] Ruby Karp: It’s also interesting to think about how Fanny would navigate the modern world.

[31:08] Ruby Karp: I mean, if she were around today, who do you think her third husband would be?

[31:28] Ruby Karp: I have a hypothesis! I think she would end up with someone like a tech entrepreneur.

[31:48] Ruby Karp: Someone who understands her ambition and drive, but also challenges her in new ways.

[32:08] Ruby Karp: It would be fascinating to see how that relationship would play out in today’s society.

[32:28] Ruby Karp: And of course, the music is just so iconic. Bob Merrill and Jule Styne created such memorable songs that really capture the spirit of the characters.

[32:48] Ruby Karp: Each song serves a purpose in telling Fanny's story, and they’re all so catchy and emotional.

[33:08] Ruby Karp: I think that’s why "Funny Girl" has remained such a beloved musical over the years.

[33:28] Ruby Karp: It’s not just about the laughs; it’s about the heart and the struggles that come with pursuing your dreams.

[33:48] Ruby Karp: And I love how it celebrates the idea of being unapologetically yourself, even when the world tries to put you in a box.

[34:08] Ruby Karp: Fanny Brice is a true trailblazer, and her story is one that continues to inspire.

[34:18] Ruby Karp: I think that’s why audiences connect with her so deeply.

[34:28] Ruby Karp: She’s relatable, flawed, and ultimately triumphant in her own way.

[34:48] Ruby Karp: And that’s what makes "Funny Girl" such a timeless classic.

[35:08] Ruby Karp: I mean, who doesn’t love a good underdog story?

[35:28] Ruby Karp: It’s all about resilience and finding your voice, which is something we can all strive for.

[35:48] Ruby Karp: Plus, the humor in the show is just so sharp.

[35:58] Ruby Karp: Fanny’s wit and comedic timing are a huge part of her charm.

[36:08] Ruby Karp: It’s a reminder that laughter can be a powerful tool, even in the face of adversity.

[36:28] Ruby Karp: And that’s something I think we all need to remember, especially in today’s world.

[36:38] Ruby Karp: The ability to find joy and humor in tough situations is a gift.

[36:48] Ruby Karp: Overall, "Funny Girl" is a celebration of life, love, and the pursuit of happiness.

[37:08] Ruby Karp: It’s a musical that encourages us to embrace our true selves and not be afraid to stand out.

[37:28] Ruby Karp: And I think that’s a message that will always resonate, no matter the time period.

[37:48] Ruby Karp: I’m so glad we got to dive into this musical today.

[38:08] Ruby Karp: It’s been such a joy to discuss Fanny Brice and her incredible legacy.

[38:28] Ruby Karp: I hope more people discover "Funny Girl" and appreciate all that it has to offer.

[38:38] Ruby Karp: It really is a gem in the world of musical theatre.

[38:48] Ruby Karp: Thank you for having me on to chat about it!

[38:58] Ruby Karp: I can’t wait to see what other musicals we’ll explore in the future.

[39:08] Ruby Karp: There’s just so much to love about this art form.

[39:28] Ruby Karp: And I’m excited to continue sharing that passion with others.

[39:48] Ruby Karp: Let’s keep the conversation going and celebrate the magic of musical theatre together!

[40:08] Ruby Karp: Thank you again for this wonderful opportunity.

[40:18] Ruby Karp: I’m looking forward to what’s next!

[40:28] Ruby Karp: Until then, let’s keep spreading the love for musicals!

[40:38] Ruby Karp: It’s been a pleasure discussing "Funny Girl" with you.

[40:48] Ruby Karp: Here’s to more musical adventures ahead!

[40:58] Ruby Karp: Thank you!

[41:57] Ruby Karp: I think what's so interesting about Fanny Brice is that she was a woman who was so ahead of her time. She was unapologetically herself, and she didn't fit into the mold of what a leading lady was supposed to be.

[42:27] Ruby Karp: She was funny, she was loud, she was brash, and she was also incredibly talented. And I think that's what makes her story so compelling, especially in the context of the time when she was performing.

[42:57] Ruby Karp: The musical really captures that essence of her life, and it shows how she navigated the challenges of being a woman in show business during that era.

[43:21] Ruby Karp: And then you have Nicky Arnstein, who is such a complicated character. He represents a lot of the struggles that Fanny faces, especially in her relationships.

[43:49] Ruby Karp: I mean, he’s charming and charismatic, but he also brings a lot of heartache into her life. It’s a classic case of the charming bad boy.

[44:09] Ruby Karp: I think audiences can relate to Fanny's journey because it speaks to the universal experience of trying to find love and acceptance while also pursuing your dreams.

[44:29] Ruby Karp: And the music! The score is just phenomenal. Bob Merrill and Jule Styne created such memorable songs that really capture Fanny's spirit.

[44:54] Ruby Karp: "People" is such a powerful ballad, and it really encapsulates her longing for connection and understanding.

[45:14] Ruby Karp: And then you have the upbeat numbers like "I'm the Greatest Star," which showcase her confidence and ambition.

[45:44] Ruby Karp: It’s a beautiful contrast that really highlights the complexity of her character.

[46:04] Ruby Karp: I also love how the show addresses themes of identity and self-acceptance. Fanny is constantly grappling with who she is and how she fits into the world around her.

[46:14] Ruby Karp: That struggle is something that many people can relate to, regardless of the time period.

[46:34] Ruby Karp: And I think that’s why "Funny Girl" continues to resonate with audiences today.

[46:54] Ruby Karp: It’s not just a story about a performer; it’s a story about a woman finding her voice and her place in the world.

[47:14] Ruby Karp: And of course, Barbra Streisand's portrayal of Fanny Brice is iconic. She brought such depth and nuance to the role.

[47:34] Ruby Karp: Her performance is a huge part of what made the musical so successful, and it set a standard for future portrayals of Fanny.

[47:59] Ruby Karp: I think it’s fascinating to consider how Fanny Brice would navigate the world today.

[48:19] Ruby Karp: She would definitely be a social media star, using platforms to showcase her humor and talent.

[48:39] Ruby Karp: I can imagine her having a podcast or a YouTube channel where she shares her experiences and connects with her audience.

[48:49] Ruby Karp: It’s fun to think about who her third husband would be in the 2020s.

[48:59] Ruby Karp: Maybe someone like a comedian or a fellow performer who understands the industry and the challenges that come with it.

[49:19] Ruby Karp: It’s all about finding that balance between love and career, which is something that many people still struggle with today.

[49:39] Ruby Karp: And I think that’s what makes "Funny Girl" such a timeless story.

[49:59] Ruby Karp: It’s about the pursuit of happiness and the complexities of relationships, which are universal themes.

[50:09] Ruby Karp: Plus, the humor in the show is so relatable. Fanny's wit and charm shine through, making her a character that audiences can’t help but root for.

[50:19] Ruby Karp: It’s a celebration of resilience and the power of laughter, even in the face of adversity.

[50:29] Ruby Karp: And that’s something that we can all appreciate, especially in today’s world.

[50:39] Ruby Karp: I think "Funny Girl" will continue to inspire future generations of performers and audiences alike.

[50:59] Ruby Karp: It’s a reminder that it’s okay to be yourself, even if you don’t fit the mold.

[51:19] Ruby Karp: And that’s a message that will always be relevant.

[51:39] Ruby Karp: I love how the show encourages people to embrace their uniqueness and to find strength in their individuality.

[51:59] Ruby Karp: It’s a beautiful testament to the power of self-acceptance and the importance of following your dreams.

[52:09] Ruby Karp: And I think that’s why "Funny Girl" holds such a special place in the hearts of so many people.

[52:19] Ruby Karp: It’s not just a musical; it’s a celebration of life, love, and laughter.

[52:39] Ruby Karp: And I’m so grateful to be able to share my love for it with others.

[52:59] Ruby Karp: It’s a joy to discuss Fanny Brice and her legacy, and I hope that more people discover her story through this musical.

[53:19] Ruby Karp: There’s so much to learn from her journey, and I think it’s a story that will continue to resonate for years to come.

[53:39] Ruby Karp: Thank you for having me on to talk about "Funny Girl." It’s been a pleasure!

[53:49] Ruby Karp: I can’t wait to see how this musical continues to evolve and inspire future generations.

[53:59] Ruby Karp: It’s truly a remarkable piece of theatre history.

[54:19] Ruby Karp: And I hope that everyone gets a chance to experience it, whether on stage or through the film.

[54:29] Ruby Karp: Fanny Brice’s story is one that deserves to be told and celebrated.

[54:39] Ruby Karp: Thank you for this wonderful conversation!

[54:49] Ruby Karp: I’m excited to see what the future holds for "Funny Girl" and for the legacy of Fanny Brice.

[54:59] Ruby Karp: It’s been an honor to discuss it with you today.

[55:09] Ruby Karp: Let’s keep the conversation going and continue to celebrate the magic of musical theatre!

[55:19] Ruby Karp: Thank you!

[55:56] Ruby Karp: I think it's really interesting to look at how Fanny Brice's story is told through the lens of her relationships, especially with Nicky Arnstein.

[56:26] Ruby Karp: You see this strong, independent woman who is incredibly talented, and yet she keeps getting pulled back into this relationship that is so toxic.

[56:46] Ruby Karp: It's like, why does she keep going back? And I think it speaks to a lot of the themes in the musical about love and ambition.

[57:06] Ruby Karp: Fanny Brice is such a complex character, and I think that's what makes her so relatable.

[57:26] Ruby Karp: She has this incredible drive to succeed, but at the same time, she has this vulnerability that makes her human.

[57:46] Ruby Karp: And I love that the musical doesn't shy away from showing both sides of her character.

[58:06] Ruby Karp: It's not just about her being funny; it's about her struggles and her triumphs.

[58:26] Ruby Karp: And I think that's why audiences connect with her so deeply.

[58:46] Ruby Karp: You can see yourself in her, whether you're a performer or just someone trying to navigate life.

[59:06] Ruby Karp: And then there's Barbra Streisand, who brought this iconic portrayal to life.

[59:36] Ruby Karp: Her voice, her charisma, it's all so captivating.

[1:00:06] Ruby Karp: I think she really defined the role for a generation, and her performance is still celebrated today.

[1:00:26] Ruby Karp: It's fascinating to think about how much of Fanny's story is intertwined with her relationship with Nicky.

[1:00:46] Ruby Karp: He represents this kind of distraction for her, pulling her away from her career and her dreams.

[1:01:06] Ruby Karp: And yet, there's this undeniable chemistry between them that makes it all the more complicated.

[1:01:16] Ruby Karp: I think that's what keeps the audience engaged—this push and pull of love and ambition.

[1:01:26] Ruby Karp: And it raises questions about what we sacrifice for love and what we gain from it.

[1:01:46] Ruby Karp: It's a timeless theme that resonates with so many people.

[1:01:56] Ruby Karp: And I think that's why the musical has endured for so long.

[1:02:06] Ruby Karp: It's not just a story about a funny girl; it's a story about a woman finding her voice in a world that often tries to silence her.

[1:02:26] Ruby Karp: And that journey is something that everyone can relate to, regardless of their background.

[1:02:36] Ruby Karp: I think that's the beauty of musical theatre—it can take these complex themes and make them accessible through song and story.

[1:02:46] Ruby Karp: And FUNNY GIRL does that so beautifully.

[1:02:56] Ruby Karp: It captures the essence of Fanny Brice and her struggles in a way that feels both personal and universal.

[1:03:06] Ruby Karp: And I think that's why it continues to resonate with audiences today.

[1:03:16] Ruby Karp: It's a celebration of resilience and the power of laughter, even in the face of adversity.

[1:03:26] Ruby Karp: And that's something we can all appreciate.

[1:03:46] Ruby Karp: Plus, the music is just so catchy!

[1:04:06] Ruby Karp: I mean, who doesn't love "People"?

[1:04:16] Ruby Karp: It's such a powerful ballad that really encapsulates Fanny's longing for connection.

[1:04:26] Ruby Karp: And then you have the upbeat numbers that showcase her comedic talent.

[1:04:36] Ruby Karp: It's a perfect blend of humor and heart.

[1:04:46] Ruby Karp: And I think that's what makes FUNNY GIRL such a beloved musical.

[1:04:56] Ruby Karp: It has something for everyone, whether you're looking for laughs or a good cry.

[1:05:06] Ruby Karp: And that's the magic of musical theatre.

[1:05:16] Ruby Karp: It can evoke such a wide range of emotions in a single performance.

[1:05:26] Ruby Karp: And I think FUNNY GIRL does that exceptionally well.

[1:05:36] Ruby Karp: It's a testament to the power of storytelling through song.

[1:05:46] Ruby Karp: And I feel so lucky to be able to talk about it today.

[1:06:06] Ruby Karp: It's a musical that has shaped so many careers and continues to inspire new generations of performers.

[1:06:26] Ruby Karp: And I think that's something worth celebrating.

[1:06:36] Ruby Karp: Fanny Brice's legacy lives on through the music and the stories we tell.

[1:06:46] Ruby Karp: And I hope that people continue to discover and appreciate her story for years to come.

[1:06:56] Ruby Karp: It's a reminder that we all have the power to create our own narratives, no matter the obstacles we face.

[1:07:06] Ruby Karp: And that's a beautiful message to share.

[1:07:26] Ruby Karp: So, whether you're a fan of the original production or the recent revival, there's something in FUNNY GIRL for everyone.

[1:07:36] Ruby Karp: It's a musical that truly stands the test of time.

[1:07:46] Ruby Karp: And I can't wait to see how it continues to evolve in the future.

[1:07:56] Ruby Karp: Thank you for having me on to discuss this incredible show!

[1:08:06] Ruby Karp: It's been such a joy to share my thoughts on Fanny Brice and FUNNY GIRL.

[1:08:16] Ruby Karp: I hope everyone gets a chance to experience it for themselves.

[1:08:26] Ruby Karp: And remember, laughter is the best medicine!

[1:08:36] Ruby Karp: So keep laughing and keep singing!

[1:08:46] Ruby Karp: Thank you!

[1:08:56] Ruby Karp: Until next time!

[1:09:06] Ruby Karp: Bye!

[1:09:16] Ruby Karp: Bye!

[1:09:26] Ruby Karp: Bye!