As a theatre enthusiast who has been fortunate enough to witness some of the most iconic productions in the Broadway scene, I must say that Gypsy, currently running at the Majestic Theatre, is undoubtedly one of the standout performances I’ve seen in recent years. The production is a testament to the power of persistence, the strength of the human spirit, and the transformative magic of theatre itself.
Instead of querying newer fans about the best musical ever made and finding modern hits like “Rent”, “Les Misérables”, or “Hamilton” as their answers, ask experienced theater enthusiasts with broader perspectives. More often than not, you’ll find that “Gypsy” ranks high among them. This classic from 1959 is arguably the epitome of tragicomic portrayals of the entertainment industry, making it a strong candidate for the greatest Broadway musical.
Instead of labeling Rose, the main character who embodies the stereotypical overbearing stage mother, as the “King Lear of musical theater,” it’s more accurate to say that she assumes a monumental role. This is particularly evident when you witness an exceptional actress like Audra McDonald invest her emotion, energy, and determination, along with her powerful voice and subtly expressive acting abilities into this colossal part.
In a compelling portrayal, six-time Tony winner McDonald brings to life a woman who’s intensely driven and deeply unfulfilled, yet never loses her sharp edges or self-centered determination. Despite her ruthless pursuit of stardom at the expense of her daughters’ wellbeing, she embodies a character of profound empathy. McDonald’s Rose is a tragic manifestation of misguided ambition – manipulative, exploitative, possibly emotionally abusive. Yet, she’s also a heart-wrenching symbol of deep sorrow.
To ensure the show thrives, it’s essential for viewers to empathize with Rose, despite her overbearing personality. We should grasp the intense drive that pushes her forward after each obstacle she encounters. This character is unaware of the misery her daughters endure and the sorrow of Herbie, portrayed beautifully by Danny Burstein, who initially radiates optimism but eventually collapses under the weight of the difficult decision he must make for self-preservation.
Upon the revelation that McDonald was set to appear in the fifth Broadway revival of Gypsy, it felt logical to expect George C. Wolfe might reevaluate certain aspects. With a focus on examining history, particularly Black American cultural history, while considering its modern impact is something Wolfe has become known for in his directing work, as demonstrated in productions like The Colored Museum, Bring in ‘da Noise, Bring in ‘da Funk, and Shuffle Along from 2016, which was his last project with McDonald and her final Broadway musical.
Instead, this show possesses a charming vintage feel, not in an outdated manner, but by staying faithful to its historical essence. This is evident in Santo Loquasto’s painted backdrops, Toni-Leslie James’ period-appropriate costumes, and the distinctive stage lighting of Jules Fischer and Peggy Eisenhauer.
The five-minute overture, one of the most exciting pieces in American musical history, sets the stage for an eventful experience reminiscent of attending a Broadway play in the 1950s or early ’60s – right down to the captivating intermission entr’acte.
The unconventional choice of having Black and mixed-race actors portray Rose and her family, among other characters, is mostly implied, yet McDonald’s performance hints at Rose viewing racism as one of the obstacles that have hindered her, longing for the acceptance she yearns for. On a subconscious level, this casting brings a unique depth to Rose’s resilience and determination; she embodies the power of nature, a necessity for a Black woman striving to make her mark in the vaudeville world.
Starting with her debut song “Some People,” it’s evident that McDonald’s refined voice signifies a shift from the bold vocal style previously associated with the character. This signature was established by the initial Rose, Ethel Merman. Since then, Broadway revivals have featured Angela Lansbury, Tyne Daly, Bernadette Peters, and more recently, Patti LuPone in 2008.
When McDonald sings in a softer tone reminiscent of her operatic soprano during performances of Gypsy, it becomes clear to those familiar with the musical from past productions or recordings that the songs are being sung differently than usual. Some might argue that McDonald’s voice doesn’t perfectly suit the role due to its purity, warmth, and elegance, but as a talented actress, she skillfully adapts the character to her magnificent vocal abilities. What truly stands out, however, is the depth of her character portrayal. Her performance is richly nuanced, deeply emotional, and successfully reveals the vulnerability hidden beneath the tough exterior.
The success or failure of the play ‘Gypsy’ largely depends on its portrayal of Rose, but it’s important to note that this musical stands out in the genre due to its powerfully constructed script by Arthur Laurents, inspired by Gypsy Rose Lee’s memoirs; its captivating music by Jule Styne; and its insightful lyrics penned by the talented Stephen Sondheim at a young age.
The narrative seamlessly blends elements of drama, humor, love stories, moments of joy, and sadness. It also encompasses a variety of musical pieces, from amusing tunes to poignant portrayals of loneliness, to powerful anthems that celebrate unity during tough times.
In the final scenes of both acts, Rose presents two powerfully emotional numbers that leave a lasting impact. “Everything’s Coming Up Roses” expresses an eager anticipation for success, suggesting that her unwavering determination could manifest their long-awaited big break. Conversely, “Rose’s Turn” portrays the heartrending breakdown of a woman who, in a sudden moment of clarity, wonders if all her selfless sacrifices and single-minded pursuit have left her daughters with nothing to show for it. As this revival demonstrates, Gypsy isn’t just an exceptional musical; it also delves deeply into the complexities of the American family’s relationships and tensions.
As the devoted fan, I see Rose as the driving force in their family, envisioning her daughters as the means to reach their desired goals. Among them, Baby June (Marley Lianne Gomes) captivates me the most with her bubbly and outgoing personality. Her enchanting act during the show-stopping number, “May We Entertain You,” leaves me in stitches from laughter. In contrast, older sister Louise (Kyleigh Vickers), seems to lack enthusiasm for performance, preferring to blend into the background. Instead of receiving her mother’s praise, she experiences constructive criticism.
Wolfe and his design team set up the family’s attempt to perform on the Orpheum vaudeville circuit by incorporating a lively scene. In this scene, Rose drives an old car from Seattle to Los Angeles, picking up three homeless boys en route who will join Louise as “Newsboys” for Baby June’s act in the new production. Essentially, they are revamping their old act.
As a gamer, I found myself in an audition setting where I met Herbie, once a talent agent now peddling sweets. He convinced the theater owner, who wasn’t fond of kids, to give us a chance. After some clever flirting and persuasive banter from my side, I managed to persuade him to manage our act. McDonald was splendid in that scene and the following duet, “Small World.” She effectively showcased my ability to charm and captivate just as skillfully as I could bulldoze through any obstacle, sparking an immediate, effervescent connection with Burstein’s charming Herbie.
In one of several reiterations of “Baby June and Her Newsboys,” the character transitions of the younger cast members, along with their years spent performing on vaudeville stages, are skilfully portrayed. Despite Rose asserting that the character June (played by Jordan Tyson) is only 9 and no member of the act is older than 12, she does agree to minor adjustments. They rework their performance as “Dainty June and Her Farm Boys.
As I find myself, much like Louise (Joy Woods), fading into the shadows, my childhood stolen and the longing for maternal love growing ever stronger within me. My heart-wrenching birthday ballad, “Little Lamb,” echoes this pain as I ponder, “I wonder how old I am.” Even June, under the glare of the limelight, starts to tire of her monotonous performance. Yet, amidst the weariness, a precious moment of sisterly bond emerges when we harmonize on “If Momma Was Married,” dreaming of a life where Rose marries Herbie and steps away from the stage.
It becomes obvious that such an event is unlikely when June runs off with one of the “Farm Boys,” Tulsa (Kevin Csolak). Rose reacts to this shock, appearing momentarily defeated – but only for a moment. Without consulting anyone, she quickly revises their act to focus on Louise. Despite her daughter’s obvious displeasure, McDonald expertly portrays Rose’s swift transition from despair to determined resilience through an impressive rendition of “Everything’s Coming Up Roses.
In the second part, we follow the challenging journey of trying to make a poorly written play succeed with an unskilled main actor in a nearly extinct vaudeville scene. However, when Herbie, who’s running out of options for paid performances, secures them a spot in a burlesque house where they will be the decent act to keep police away, Rose is appalled.
However, Louise, who became more bold over time, convinces her mother of their financial necessity. Despite her mother’s disdain for them, Louise makes acquaintances with three local strippers named Tessie Tura (Lesli Margherita), Mazeppa (Lili Thomas), and Electra (Mylinda Hull). In a scene that never fails to bring laughter, the dim-witted Electra mistakes Louise for a new stripper. Upon refusal from Louise, who points out her lack of talent, Tessie replies, “To be a stripper, you just need to not have any talent!
In the performance, the amusing act of the strippers titled “You Gotta Get a Gimmick” is strategically included in the show as a light-hearted moment before a serious revelation about Rose’s relentless ambition unfolds. When the main stripper fails to appear for a performance, Rose orders Louise to take her place, advising her to either remove a glove or let down a shoulder strap, and always leave the audience wanting more. As a result, Gypsy Rose Lee emerges on stage.
This finally proves too much for Herbie, and in a devastating scene — played by Burstein with heartbreaking despair, humiliation and the weary knowledge that tearing himself away from Rose is his only option — he takes his leave. Only when she’s alone does Rose register the loss, but she still thinks of every exit as another person walking out on her, not as someone she has driven away.
When Louise suddenly flourishes, acquiring grace and self-assurance in her transformed stage character, making her the top-earning “ecdysiast” in the industry, she seizes command over her life for the first time. Her triumph leaves her mother abandoned on the sidelines, no longer indispensable and compelled to confront herself sincerely.
The outcome is “Rose’s Turn,” an exceptional track that offers a glimpse of the powerful headliner Rose could have been in her alluring opening verses. However, the arrogance gradually fades to uncover the fragments of a life she now perceives as squandered. On the empty stage, McDonald powerfully performs the song’s anger and bitterness, voicing her frustration with “When is it my turn? Don’t I deserve a dream for myself?
McDonald powerfully merges the characters of Baby June, Louise, and Rose in a striking manner, creating an intense and almost grotesque portrayal. This remarkable act showcases a fractured personality laying it all bare, which deservedly elicited a thunderous standing ovation from the audience.
I found several areas where improvements could be made in the production. The choreography by Camille A. Brown tends to be overly complex rather than truly impactful, particularly in the “Garden of Eden” number featuring Gypsy Rose Lee, which appears strikingly similar to scenes from the film Showgirls. Additionally, Louise’s transition from a timid child seeking her mother’s attention to an extravagant glamazon seems too sudden. However, Woods delivers a captivating performance in her Marcel wave and stunning red dress that manages to make the transformation convincing, as if Louise is finally shedding a lifetime of sorrow and embracing her newfound freedom from the shadows.
Regardless of any small imperfections, this outstanding performance leaves an indelible impression in this skillfully enacted production. Every element revolves around the powerful presence that is McDonald.
Performance Location: Majestic Theatre, New York City
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2024-12-20 08:25