Milton Musical Society 
Regent Centre, Christchurch
Susanna Greenwood 
30 April 2026
There’s something deliciously defiant and inspiring about Funny Girl, a musical that begins with a woman who doesn’t quite fit the chorus line and ends with her owning the entire stage. Based on the true story of Fanny Brice, a talented but unconventional young woman who dreamt of making it big in show business, despite not fitting the typical “showgirl” mould.
Funny Girl delivers show-stopping tunes such as Don’t Rain on My Parade, while also poking fun at the superficial world of show business. Its message remains strikingly relevant for young women today, reminding us that ambition doesn’t need to be dulled and individuality is nothing to apologise for. In an era of influencers and social media narcissism, what an inspiring message to give our daughters: sometimes the boldest thing you can be is yourself.
Originally conceived as a starring vehicle for the unapologetic powerhouse Barbra Streisand, this show demands exceptional vocal ability from its leading performer. It only truly works with perfect casting of Fanny Brice, someone capable of delivering the big show tunes alongside the emotional intensity required for softer ballads such as People. With such well-known songs, there is little room for poor delivery.
Luckily for New Milton Musical Society, they have Emma Hardy, whose presence, physicality, and vocal dynamics were a delight. She truly inhabited the role, from the moment she strikes her opening pose to the heart-wrenching reprise of Don’t Rain on My Parade. Some might argue that Emma’s looks are more conventional than those of Streisand or indeed Fanny Brice, and in that regard she had a greater challenge in creating the ungainly, goofy characteristics that set Fanny apart from the chorus girls. She rose to that challenge impressively.
There was a physical energy to her performance; her mannerisms, walk, and posture which all helped to create this larger-than-life character. This also allowed her to use stillness effectively in more poignant moments, which she handled beautifully. Vocally, she was equally impressive, with both the power and pitch for the showstoppers and the nuance required for the ballads.
If I were to be overly critical, there were a few moments early in the show where the power and pace slightly compromised diction in some of the lesser-known songs, perhaps also influenced by the accent, but this soon settled.
For all its dazzling showbiz numbers, at its heart this is a love story. Sam Sheppard plays Nick Arnstein, Fanny’s love interest, and we see the dichotomy in their relationship: her rise to fame, success, and wealth contrasts sharply with his declining fortunes through poor business decisions and gambling. His damaged pride at being unable to provide for his wife creates a growing rift, and while she ascends the heights of stardom, she conceals the pain of her personal struggles.
Sam delivered a relaxed, solid performance, with a swagger and charm befitting the smooth, well-connected Nick Arnstein. However, his strongest moments came when he was able to explore the character’s emotional depth, particularly as the relationship began to fracture. There was a strong chemistry between Emma and Sam, which made these scenes all the more compelling and believable.
That said, if Fanny were my friend, I would be rooting for her to end up with Eddie, her early supporter, friend, and grounding influence. John Celea gave a warm and engaging performance as the dependable Eddie. He was a convincing showman, bringing energy and confidence to the ensemble numbers, and equally effective in the more tender moments, particularly when conveying his quiet unrequited love for Fanny.
Julie Gower offered a relatable portrayal of Mrs Brice, Fanny’s down-to-earth, hardworking, and proud mother. Her companions, Mrs Strakosh and Mrs Meeker, played by Olwen Adams and Marie Coltman respectively, provide some lovely moments of gentle humour. Oscar Trehane delivered a sterling performance as the Tenor Soloist in His Love Makes Me Beautiful. If I had to nitpick, aside from Fanny and Eddie, some cast members struggled with the accent, resulting in an assortment that could be slightly distracting at times.
Kirsti Warne has done a commendable job with the choreography, particularly for the showgirls, who handle the bulk of the large dance numbers with confidence. Keely Marsango and Kiera Rickford, as Jenny and Vera respectively, shine in the more complex routines. The costumes are superb and evoke a wonderfully glamorous era, particularly for Fanny and the showgirls. The production is further supported by a fantastic live orchestra, led confidently and skilfully by musical director Natalie Dolton. The set is simple but effective, featuring suitably showy glitter drapes and a mirror ball for the big numbers, alongside a centre-stage opening that offers glimpses of the orchestra behind. I also really enjoyed the atmospheric opening, with projected archive footage of Fanny Brice.
Overall, this is a high-quality and thoroughly entertaining production, anchored by a stunning central performance. The show runs until 2nd May, and I highly recommend you hotfoot it to the Regent so you don’t miss out.
