By ROBERT HAGELSTEIN
Reprinted from lacunaemusing.blogspot.com
Posted March 28, 2017
We all know the story and most have seen both the play and the movie “Gypsy” about the struggle of an obsessed stage mother driving her youngest daughter’s rise to fame during the fading years of vaudeville. For me, there were three reasons to see this show yet again: the music of Jule Styne, the lyrics of Stephen Sondheim, and the character-driven roles created by Arthur Laurents, who mined the memoirs of Gypsy Rose Lee when creating the story.
Even with these attributes, how does one breathe new life into the well-known story? There is, of course, the Maltz Theatre’s reliable skill of handling musicals, but in the case of this “Gypsy” there is also the powerhouse of a performer, Vicki Lewis, who plays Rose on steroids. Her portrayal alone is worth revisiting “Gypsy,” along with an exceptional supporting cast. But when Lewis is on stage, she is a force of nature, self deluded by her unrealistic ambition for her daughters, only to rise out of the ashes of self destruction with the colossal closing number “Rose’s Turn.” On the other hand, she keeps the audience feeling distressed by her constant manipulations only to have our hearts go out to her again and again.
This is a woman with many losses in her life, her own mother and several husbands, then June, the daughter she grooms for stardom, played with wide-eyed innocence by Jillian Van Niel. And then the man who stood by her, Herbie, flawlessly performed by John Scherer (seen previously at the Maltz in “La Cage aux Folles,” “Annie” and “They’re Playing Our Song,” as well as on Broadway). Ultimately, we grieve as much for Herbie, another casualty of Rose’s delusions.
We watch the transformation of talented Emma Stratton as Louise (whose national tour credits include “Bullets Over Broadway” and “Anything Goes”) from the ungraceful neglected child into the great Gypsy Rose Lee, an accident of Herbie booking the troupe at a burlesque theater. There we meet three of the most unlikely caricatures of burlesque performers, who belt out one of my favorite songs, so typical Sondheim in its word play, “You Gotta Get a Gimmick.”
There are so many people to mention, but a special call out to Brett Thiele, who plays Tulsa, whose dance and song solo with Louise looking on in an alley behind a theatre is reminiscent of a Gene Kelly routine, singing one of my other favorites, “All I Need is the Girl.” It is at this moment that a “performance gene” is awakened in Louise, not to mention the spark of love. But Tulsa eventually takes June for his own, now leaving Rose with her overlooked daughter, Louise, a new project to mold into stardom.
Marcia Milgrom Dodge, whose work on revivals, new musicals and plays has been seen throughout the world, directed and choreographed this Maltz production. There is a very effective, moving scene where Rose’s troupe of child performers meld into adults in an instant, still singing and performing the same old routines. Be prepared to be wowed by the conceit.
“I’m drawn to stories that illuminate the human condition: stories about families; flawed characters with strong ambitions and giant dreams,” Dodge says about “Gypsy.” And, indeed, that is what the show is all about.
“Gypsy” is the show where Sondheim felt he finally came into his own and experienced a liberating freedom in writing the lyrics. He further acknowledged that the music by Jule Styne “supplied the atmosphere of both the milieu and of the musical theatre itself.” It was one of the last musicals for which Sondheim was merely the lyricist but you get the sense he was learning the musical treatment from a master.
“Jule’s score was redolent of not only vaudeville and burlesque but of the old-fashioned, straightforward, character-driven musical play … of which ‘Gypsy’ was one of the last examples and probably the best,” he says.
The list of memorable songs is endless from this musical. In addition to the ones already mentioned, there’s “Let Me Entertain You,” “Some People,” “Small World,” “You’ll Never Get Away from Me,” “If Momma Was Married” (another personal favorite, so vintage Sondheim), “Everything is Coming Up Roses,” and “Let Me Entertain You,” plus others!
Although frequently performed, and indelibly etched in our memories from the film, here is a refreshing revisit, made particularly memorable by Vicki Lewis’ performance. The show is playing at the Maltz Jupiter Theatre until April 9.
Pictured above: Emily Moreland, Vicki Lewis, Talia B. Pamatat and Blake McCall perform in the Maltz Jupiter Theatre’s production of the classic American musical “Gypsy,” onstage through April 9. Photo by Jen Vasbinder
To read more reviews by Robert Hagelstein, as well as his writings covering topics including business, literature and politics, go to lacunaemusing.blogspot.com.