Gypsy returns to B'way: great show, great story, great songs. great performances
Oscar E Moore from the rear mezzanine for Talk Entertainment.com
“Attend the tale of Momma Rose, the demon Momma of G Lee”. The “G Lee” being Gypsy Rose Lee, whose memoir of growing up with her tyrannical, forceful, frustrated Momma Rose and sister June has triggered this almost brilliant revival of the 1959 Jule Styne, Arthur Laurents, Stephen Sondheim, Jerome Robbins revered musical – presently starring Patti LuPone at the St. James Theatre where she is giving the performance of her career – pulling out all the stops. And then some.
Whether she is bulldozing her way through “Some People” and “Everything’s Coming Up Roses” or being tender and flirtatious in “Small World” or experiencing a meltdown right before our eyes in “Rose’s Turn”, Patti LuPone has finally found the pluperfect part to showcase her considerable talents to a tee. Who knew she could have quiet moments. Who knew she was capable of having us understand what she is singing. Who knew she could be so disciplined. And focused. We already knew she could belt. And belt she does. Giving us a gut wrenching, deep from within the bowels, now-its-my-turn finale. She is simply awesome.
Thankfully, she is not alone. As her awkward daughter Louise - who is always having to play second fiddle to the lovelier and more talented June, Laura Benanti, more than just holds her own opposite the tidal wave performance of LuPone. They are truly mother and daughter. When Gypsy finally has her long overdue confrontation with Rose they are face to face in a stare off that culminates in Louise finally telling her mother what it’s been like all those suffocating years and she begins to sound and act exactly like her mother. It’s an eerie and spine chilling moment. Laura Benanti’s progression from the rear end of a cow to the highest paid, lady-like, French speaking stripper is miraculous. From the first tentative notes to “Let Me Entertain You” to her full command of the stage at Minsky’s Burlesque, Laura shines just as bright as LuPone. When she longingly and lovingly watches Tulsa (Tony Yazbeck) perform “All I Need Is the Girl” we know it is she that yearns to get that part and be with him. She is simply sensational. Beautiful. And a star. No wonder Momma was so frustrated.
As Herbie, the salesman/doormat that loves Rose and is treated as such by her, Boyd Gaines gives absolute credence to his role. It makes for a three star studded vehicle. Their “Together Wherever We Go” is wonderful. And speaking of wonderful: Stephen Sondheim. His lyrics are terrific. Wise. Witty. Character driven. And right on the money every single song. Considering the overall tone of LuPone’s performance, “You’ll Never Get Away From Me” takes on an even darker and ominous meaning. Aided by the melodies of Jule Styne, it’s no wonder that so many hit songs came from this show. The book by Arthur Laurents is one of the best ever. He is also the director of this show. As nice a job as he has done it somehow, sometimes feels too slow in the book scenes. That is probably the only drawback to an otherwise great show.
At the performance I saw, an understudy went on as Baby June – Katie Micha and she was excellent. As Miss Cratchitt, Lenora Nemetz practically pulls the rug out from under Ms. LuPone’s Rose - stealing the scene from her. It’s a great performance. Even better is her Mazeppa - one of the three strippers – who bring the house down with “You Gotta Get a Gimmick”. Together with Alison Fraser and the dead pan Marilyn Caskey they do just that. And as Dainty June, Leigh Ann Larkin shows no mercy towards her mother in her duet with Louise “If Momma Was Married”. It’s a great cast. In a great show. With a great story. With great songs. On the Great White Way.
04-07-08
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