Cabaret Scenes Theatre Review

"Some people sit on their butts; got the dream, yeah, but not the guts." ("Some People") Rose had the dream, and Patti LuPone lives it out. Gypsy is one of the great Broadway classics with probably the meatiest part in musical theatre. Every diva wants to sink her teeth into Rose, and many great ones have, Ethel Merman, Angela Lansbury, Rosalind Russell, Bette Midler. Tyne Daly surprised everyone with her stunning interpretation. Bernadette Peters took the part down a different road, more suited to her own look, demeanor and impressive reservoir of talent. Different and controversial.

The latest is Patti LuPone in Encores! Summer Stars' revival of Gypsy at City Center. This most theatrical of theatre stars, a compelling actress with a flexible, lyrical, robust singing voice inhabits the stage mother from hell in a story of complex emotions with an unforgettable score by Jule Styne and Stephen Sondheim. Director Arthur Laurents' vaudeville-era book, has all the drama any drama, needs, with Rose's older child, Louise, who morphs from the second-tier daughter to become the legendary Gypsy Rose Lee. The guts and dream of the story, however, belongs to Mama Rose. "I had a dream...," a running theme through the show, sets Rose on each take-no-prisoners adventure.

From the start, Rose is single-minded in her own squashed dreams and unquenchable energy to propel her daughters into show business. She concentrates first on June, a pretty, bouncy and limber little girl, lovably obnoxious to watch, who performs what Mama creates. As she grows, Rose tweaks the staging and keeps June performing the same steps, same songs, in larger costumes, sewn by Louise, the plainer sister whose own dreams are ignored.

Unfortunately, vaudeville is in its mordant moments, although Rose refuses to acknowledge this, just as she ignores anything else that does not dovetail into her own dreams. Surviving Rose is not easy. Some do not make it, and even Rose herself is threatened. She meets Herbie, a sweet talent agent/candy salesman/talent agent, who sees something to love in Rose and puts up with a lot. Despite the subtle romance of "Small World," this is not a sweet musical comedy. The story is harsh; the "heroine" is fire and ice, honed by Lupone's offhand comedy deliveries.

Her first big disappointment comes when June runs off with Tulsa, a singer/dancer whom Louise also covets. Although Rose is stunned, her obsessive dreams in ruins, she turns her focus on Louise, declaring that "Everything's Coming Up Roses," ending as the petals begin dropping, and we see the beginnings of collapse.The second Act sees Louise and company booked into a cheap Wichita burlesque house and the dream unravels fast. Although Rose insists on just this last gig, Herbie recognizes that Rose will never let Louise, or her dreams, go. Louise agrees to fill in for a stripper, the start of her evolution to burlesque stardom, and she resolves to run her own life. With a lovely singing voice, Laura Benanti dramatically transforms from the pallid shrinking violet into the blooming Rose, confident, successful and sophisticated. When she confronts Rose, she delivers a scene of shivering impact.

Rose turns her ambitions inward but she sees an empty future and a nightmare instead of a dream. "Give `em love and what does it get you?" she agonizes in "Rose's Turn," unleashing her rage and frustration.

Boyd Gaines' Herbie, is sweet, but when the scales come off his eyes, he is implacable to Rose's promises. June (Leigh Ann Larkin), is sheer grit under bleached blonde curls. As her love interest, Tulsa, Tony Yazbeck dances with graceful strength in his rendition of "All I Need is the Girl."

Standouts are three burlesque veterans who advise Louise with "You Gotta Get a Gimmick." Alison Fraser plays Tessie Tura with a Billie Dawn comic ditziness; Nancy Opel is Mazeppa, the stripper with a horn; and Marilyn Casey's whoozy Electra is priceless with just a few light bulbs still twinkling.

Laurents keeps the vitality of Gypsy in his direction of this rich story. Music director Patrick Vaccariello conducts a full orchestra onstage, driving the lush energy of Jule Styne's timeless music and Sondheim's snappy lyrics. A nod to Martin Pakledinaz' costumes, just right, like Rose's drab brown dress in the drab Depression days, and Louise's stylish gown when she reaches the top. James Youmans' sets are simple and imaginative.

With the formidable Patti Lupone "We got nothing to hit but the heights!" even if Mama Rose never makes it.

Gypsy is the first Encores! Summer Stars' series at City Center and runs through July 29.

Elizabeth Ahlfors
Cabaret Scenes
July 14, 2007
www.cabaretscenes.org



	Gypsy City Center New York, NY
"Some people sit on their butts; got the dream, yeah, but not the guts." ("Some People") Rose had the dream, and Patti LuPone lives it out. Gypsy is one of the great Broadway classics with probably the meatiest part in musical theatre. Every diva wants to sink her teeth into Rose, and many great ones have, Ethel Merman, Angela Lansbury, Rosalind Russell, Bette Midler. Tyne Daly surprised everyone with her stunning interpretation. Bernadette Peters took the part down a different road, more suited to her own look, demeanor and impressive reservoir of talent. Different and controversial. The latest is Patti LuPone in Encores! Summer Stars' revival of Gypsy at City Center. This most theatrical of theatre stars, a compelling actress with a flexible, lyrical, robust singing voice inhabits the stage mother from hell in a story of complex emotions with an unforgettable score by Jule Styne and Stephen Sondheim. Director Arthur Laurents' vaudeville-era book, has all the drama any drama, needs, with Rose's older child, Louise, who morphs from the second-tier daughter to become the legendary Gypsy Rose Lee. The guts and dream of the story, however, belongs to Mama Rose. "I had a dream...," a running theme through the show, sets Rose on each take-no-prisoners adventure. From the start, Rose is single-minded in her own squashed dreams and unquenchable energy to propel her daughters into show business. She concentrates first on June, a pretty, bouncy and limber little girl, lovably obnoxious to watch, who performs what Mama creates. As she grows, Rose tweaks the staging and keeps June performing the same steps, same songs, in larger costumes, sewn by Louise, the plainer sister whose own dreams are ignored. Unfortunately, vaudeville is in its mordant moments, although Rose refuses to acknowledge this, just as she ignores anything else that does not dovetail into her own dreams. Surviving Rose is not easy. Some do not make it, and even Rose herself is threatened. She meets Herbie, a sweet talent agent/candy salesman/talent agent, who sees something to love in Rose and puts up with a lot. Despite the subtle romance of "Small World," this is not a sweet musical comedy. The story is harsh; the "heroine" is fire and ice, honed by Lupone's offhand comedy deliveries. Her first big disappointment comes when June runs off with Tulsa, a singer/dancer whom Louise also covets. Although Rose is stunned, her obsessive dreams in ruins, she turns her focus on Louise, declaring that "Everything's Coming Up Roses," ending as the petals begin dropping, and we see the beginnings of collapse.The second Act sees Louise and company booked into a cheap Wichita burlesque house and the dream unravels fast. Although Rose insists on just this last gig, Herbie recognizes that Rose will never let Louise, or her dreams, go. Louise agrees to fill in for a stripper, the start of her evolution to burlesque stardom, and she resolves to run her own life. With a lovely singing voice, Laura Benanti dramatically transforms from the pallid shrinking violet into the blooming Rose, confident, successful and sophisticated. When she confronts Rose, she delivers a scene of shivering impact. Rose turns her ambitions inward but she sees an empty future and a nightmare instead of a dream. "Give `em love and what does it get you?" she agonizes in "Rose's Turn," unleashing her rage and frustration. Boyd Gaines' Herbie, is sweet, but when the scales come off his eyes, he is implacable to Rose's promises. June (Leigh Ann Larkin), is sheer grit under bleached blonde curls. As her love interest, Tulsa, Tony Yazbeck dances with graceful strength in his rendition of "All I Need is the Girl." Standouts are three burlesque veterans who advise Louise with "You Gotta Get a Gimmick." Alison Fraser plays Tessie Tura with a Billie Dawn comic ditziness; Nancy Opel is Mazeppa, the stripper with a horn; and Marilyn Casey's whoozy Electra is priceless with just a few light bulbs still twinkling. Laurents keeps the vitality of Gypsy in his direction of this rich story. Music director Patrick Vaccariello conducts a full orchestra onstage, driving the lush energy of Jule Styne's timeless music and Sondheim's snappy lyrics. A nod to Martin Pakledinaz' costumes, just right, like Rose's drab brown dress in the drab Depression days, and Louise's stylish gown when she reaches the top. James Youmans' sets are simple and imaginative. With the formidable Patti Lupone "We got nothing to hit but the heights!" even if Mama Rose never makes it. Gypsy is the first Encores! Summer Stars' series at City Center and runs through July 29. Elizabeth Ahlfors Cabaret Scenes July 14, 2007 www.cabaretscenes.org

Gypsy

City Center New York, NY

City Center
New York, NY