There are a multitude of differences between the latest iteration of this iconic 1959 musical and its predecessors. Some work, others don’t. The show’s reason and axis, Audra McDonald, is undeniably a multi-talented actress. Despite recent illness, she imbues the role of war horse stage mother Rose with incendiary energy, grit, passion and despair.
In fact, we see almost nothing else as the self-serving, exploitive, abusive character propels daughters June (Marley Gomes as a child, Jordan Tyson as a young woman) and Louise (Summer Rae Daney as a child, Joy Woods as a young woman) through the ranks of vaudeville to The Orpheum Circuit.
Zachary Daniel Jones, Tony d’Alelio, Jordan Tyson (Baby June) Kevin Csolak, Brendan Sheehan
There’s not a moment of authentic tenderness towards her girls or candy-seller, then manager and suitor, Herbie, the reliably heartwarming, heartbreaking Danny Burstein. Though it’s impossible not to empathize with unfulfilled dreams, glimpses of feeling that would humanize Rose are greatly absent. Behavior towards loved ones and employees feels one note. Director George Wolfe has chosen to present archetypes.
Over the top exaggeration particularly manifests in Baby June’s performance and her later tantrum (open your eyes, please, Jordan) in producer Geldzinger’s office. Self-consciousness rules. (Mylinda Hull’s secretary, Miss Cratchitt, sets a perfect droll tone.)
Danny Burstein, Joy Woods, Audra McDonald
It’s also evident in portrayals of the three strippers: Tessie Tura (Lesli Margherita), Mazeppa (Lily Thomas), and Electra (Mylinda Hull) during their nonetheless cheer eliciting, bankable number. The burlesque performers appear to be caricatures, not women of a certain class and spirit who present with pride and humor. The latter emerges on stage from apparent lack of self awareness.
McDonald is skilled at Rose’s seductive manipulation of Herbie. She’s credibly domineering – calling out directions, rushing onstage to adjust things, making demands of the orchestra, and desperate – stealing cutlery, even a teapot from a Chinese restaurant. Believable temper erupts when thwarted leading inexorably to one of the all time great 11:00 o’clock numbers, “Rose’s Turn,” through which she’s as rabidly tragic as anything in Euripides. And moving. Not for nothing has McDonald won six Tony Awards.
Joy Woods, Audra McDonald
There’s vigor in her voice (keys have been altered), but the musical was written in brassy, spurts of lyric, while McDonald’s singing evinces long, vibrato tails. The actress sounds a bit too high toned causing subtle disconnect.
George Wolfe’s direction features start/stop scenes which invariably spotlight his star extending the show to its almost three hour length. Other characters often freeze too long waiting for Rose’s response. In less professional circumstances, one might assume something’s amiss.
Also curious is absence of imagination depicted in Gypsy’s performance, something Miss Lee had in spades to cover her not disrobing. (Quick changes watching her evolution are stellar.) A production number has her playing Eve surrounded by scantily clad dancers (like the film Can Can) This is just wrong. ‘Never happened. The burlesque queen’s success was built on a solitary stroll, removal of inconsequential costume elements, and unappeased promise.
Mylinda Hull, Joy Woods, Lesli Margherita and Lili Thomas
Chaos of the troop when hiding from an angry landlord is handled with Hellzapoppin’ creativity and timing, but continues too long, quashing the lyric humor of “Have An Eggroll, Mr. Goldstone.” (Andrew Kober’s confusion is just right.) Two-handers are adroitly directed. Scenes transition well. The stage is ably used.
Wolfe’s blind casting proposes Mama Rose in her very first Black incarnation with two Black daughters. Imagine how different this family’s lives would have been trying to achieve stardom, even bookings, were they African American in the 1920s. Imagine the consequences of Rose’s biracial relationship. That aside, why, but for parity, do Baby June’s chorus boys morph from Black children to White young men?
Joy Woods
As Louise, Joy Woods skillfully inhabits an arc from timid resignation to inevitable eruption. She could use a lesson in burlesque maneuvers, however, and alas, doesn’t much dance. In most productions, the character joins Tulsa (an appealing Kevin Csolak) at the end of clandestine rehearsal for his new act. Here, Louise barely steps behind him before retreating.
Santo Loquasto’s set seems low budget except for the car. Costumes by Toni-Leslie James offer respectively tacky, tawdry and era appropriate apparel. Stripper costumes and the cow are marvelous.
Twenty-six pit musicians executing a well arranged and executed score is a rare thrill. (Music Supervision/Music Director/Additional Arrangements – Andy Einhorn; John Kander dance arrangements)
Choreography by Camille A. Brown arrives engaging and low key.
A decidedly mixed bag.
Photos by Julieta Cervantes
Gypsy
Book – Arthur Laurents
Music – Jule Styne
Lyrics – Stephen Sondheim
Suggested by the Memoirs of Gypsy Rose Lee
Directed by George C. Wolfe
Majestic Theatre
245 West 44th Street
