Funny Girl Film Screening | Soho Hotel

There’s something quietly revolutionary about filmed theatre. For an art form so often bound by geography, ticket prices, and sheer luck of availability, live recordings open the doors wider than ever before. They allow audiences who might never step foot inside a West End theatre, or who simply missed a sold out run, to experience the magic. In a time when accessibility is (rightly) at the forefront of conversations around the arts, filmed musicals feel less like a bonus and more like a necessity.

That’s why it’s so exciting that Funny Girl, starring Sheridan Smith, is showing again in cinemas in the coming weeks - because this is exactly the kind of performance that deserves to be seen by as many people as possible. And what a performance it is.

Captured live in Manchester, Funny Girl tells the story of Fanny Brice, a young woman from humble beginnings who rises to become one of the biggest stars in show business. It’s a classic tale of ambition, talent, and the complicated cost of success, woven together with a romance that feels as fragile as it is passionate. At its core, it’s about identity, how Fanny refuses to conform to expectations of beauty or behaviour and how that defiance both propels and isolates her. The narrative balances humour and heartbreak with surprising deftness, moving from laugh-out-loud comedy to moments of genuine emotional weight without ever feeling disjointed.

Smith steps into the iconic role with a confidence and individuality that makes it entirely her own. Comparisons to past performers feel almost irrelevant here; Smith isn’t trying to replicate, she’s reinventing. Her Fanny is sharp, self-aware, and deeply human, brimming with comic timing one moment and raw vulnerability the next. It’s easy to see why she won so many people’s hearts in this role. There’s an authenticity to her performance that cuts through the screen, reminding you that even in a filmed format, theatre’s emotional immediacy can remain intact.

Vocally, she delivers with both power and nuance. Her rendition of Don’t Rain on My Parade is a standout, not just for its technical strength but for its slightly faster arrangement, which injects the number with a renewed sense of urgency and determination. It feels less like a showpiece and more like a declaration, a pivotal moment where Fanny asserts control over her own narrative. It’s thrilling, and crucially, it feels earned.

Opposite her, Darius Campbell provides top tier support as Nick Arnstein. His performance brings a smooth charisma to the role, grounding the character’s charm in something more complex and, at times, conflicted. The chemistry between him and Smith is convincing, adding emotional depth to a relationship that could easily feel secondary to Fanny’s rise. Instead, it becomes an integral part of the story’s tension.

The strength of the production doesn’t rest on its leads alone. The cast as a whole is impressively cohesive, with each performer contributing to the show’s vibrant energy. The ensemble, in particular, deserves recognition. Their work is slick, precise, and full of personality, never fading into the background but instead enhancing every scene they’re part of. Some of the most enjoyable moments come from these group numbers, where the choreography, staging, and sheer enthusiasm of the performers combine to create sequences that are as visually engaging as they are entertaining.

What’s especially effective about this filmed version is how well it captures the essence of live performance. The camera work strikes a careful balance: close enough to pick up on subtle expressions and character nuances, yet wide enough to preserve the scale and spectacle of the stage. It manages to showcase each performer’s stage presence and individuality without losing the collective energy that makes musical theatre so electrifying. You’re not just watching a recording; you’re experiencing a performance.

There’s also something to be said for how the filmed format allows different details to shine. Small gestures, fleeting reactions, and moments of connection between characters become more visible, adding layers to the storytelling. It’s a reminder that theatre doesn’t lose its magic when translated to screen, it simply transforms, offering a different, but equally valuable, perspective.

Ultimately, this Funny Girl is more than just a successful revival; it’s a celebration of performance, personality, and perseverance. Sheridan Smith anchors the production with a portrayal that feels both fresh and faithful, supported by a strong cast and a particularly impressive ensemble. Combined with thoughtful filming that respects the integrity of the stage show, it becomes a compelling argument for why recorded theatre matters.

Because when productions like this can be revisited, shared, and experienced by wider audiences, theatre stops being something fleeting. It becomes

something lasting.

★★★★★ (5*)

Gifted tickets in return for an honest review