Funny Woman, on PBS

Barbara Parker is from Blackpool, not Liverpool, but to snobby Londoners in the early 1960s, they might as well be the same place. She is not stupid, but she is a little naïve, but again, the so-called “smart set” acts like they are the same thing. However, she might just teach them a thing or two in the six-part Funny Woman, adapted by Morwenna Banks from Nick Hornby’s novel, which premieres tonight on PBS.

First of all, set your understandable fears to rest. There is absolutely no Barbra Streisand to be found anywhere in this series. However, there is a good deal of vintage Pet Clark pop. The 1960s are just beginning to swing, but not for anyone in Blackpool, so Parker makes the big move to London. Initially, she lands a job in a swanky department store (one of many similarities with Miss Maisel), where she meets her long-suffering roommate Marj Harrison.

Unfortunately, the most likely way to social climb for most of her fellow shopworkers is as the kept sidepiece of a rich customer. That is not for the independent-minded Parker, so she quits. She was also fired, but whatever. Just when things look bad, she signs with theatrical agent Brian Debenham, who is a bit creepy, but not in a sexual way. Redubbed, “Sophie Straw,” she still struggles for gigs, until she talks her way into an audition for a new sitcom produced by the progressive Dennis Mahindra.

Obviously, Mahindra is her Mr. Right, but he is inconveniently married to an unfaithful TVC network colleague. Clearly, her cad of a co-star, Clive Richardson is Mr. Wrong but he is confident enough to make his move. Ted Sargent, TVC’s head of “light entertainment” does not much care for her modern sensibility or her Blackpool accent, but viewers seem to love her.

Funny Woman is a chipper period rom-com that clearly wears its inclusive spirit on its sleeve. However, the fab fashions and soundtrack keep the vibe quite buoyant. Gemma Arterton’s upbeat performance also helps power the show along at a healthy gallop. Her scenes on the sitcom set are somewhat reminiscent of shows like That Girl, in nostalgic kind of way.

Arterton also has great chemistry with Arsher Ali’s Mahindra. Tom Bateman doubles and triples down on pompous arrogance as Richardson, but Banks and series director Oliver Parker make it convincing from the dramatic context that Parker/Straw’s relationship with him is mostly due to her getting caught up in the momentum of her sudden fame.

Matthew Beard and Leo Bill get a lot of laughs from their wisecracks as the show’s writers. They also represent various points on the sexual orientation gamut, which are new to Parker, but she is intuitively accepting. Rupert Everett regally hams it up as Debenham, under makeup that is so decrepit-looking, viewers will expect his ears and nose to start falling off.

Funny Woman is a terrific looking and sounding period production. While you watch the series, you might actually think the 1960s were a fun decade. Mybe it was for a while, before it jumped the shark badly. Arterton and company help remind us of the era’s early promise. Recommended for the energy and colorful art and costume design, Funny Woman starts airing tonight (1/7) on PBS.