|
"Gypsy" (at the St. James Theatre)
So long as Patti LuPone is playing the role, this production is an absolute "must-see." And the producers know exactly how essential she is to this production's success. They are paying her extra not to take vacation time. And she is packing them in, even though at present she is performing with an injured foot, which is forcing her to play the role in slippers rather than regular shoes. But Patti LuPone is one-of-a-kind.
* * *
Where to begin?
Patti LuPone's rendition of "Rose's Turn," in the new production of "Gypsy" at the St. James Theatre, is the most powerful moment of theater I've experienced in recent years—a potent reminder of just how affecting theater can be. It also earned her, at the performance I attended, the strongest audience reaction I've seen any single performer get for any single number in years. If you can get a ticket, go! This is a don't-miss production.
LuPone has been as impressive in straight dramas as she has been in musicals. She has formidable acting chops, not just a powerhouse singing voice. She gives the key spoken dramatic scenes—not just the musical numbers—their full values. This is an extremely well-acted—not just well-sung—production of Gypsy. She plays Mama Rose, quite appropriately, with more brass than most have. Her Mama Rose has a harder edge to it than we're used to seeing. For this I gave credit not just to LuPone but to Arthur Laurents, who directed this production; he lets us see a harder edge to Rose's daughters than we are used to seeing, too. And the whole production benefits as a result.
Gypsy is a masterwork. The book by Arthur Laurents, the music by Jule Styne, the lyrics by Stephen Sondheim, the choreography by Jerome Robbins (reproduced here by Bonnie Walker)—these are all as good as it gets. And this production wins us over, from the first notes of the justly celebrated overture, played by the 25 musicians onstage. By the way, the large orchestra, directed by Patrick Vaccariello, sounded sensational throughout; and the audience took in every note of the overture in appreciative, respectful silence. For most of the show itself, after the overture, the orchestra was appropriately hidden from view. I think the choice to let us see the orchestra, through a scrim, for part of "Rose's Turn," was unwise—a needless distraction from the star—but that is a minor mistake in an exceptional show. I also wished the production used live animals; it seems silly—and a little cheap—for Mama Rose to be holding a stuffed dog rather than an actual one. If you're charging $117 for tickets, you can afford to use live animals. It's not too late to rectify that. This production should run a long while, and make good money.
Laura Benati does her best work to date—by far—playing the grown-up Gypsy Rose Lee; it's a nuanced, engaging interpretation. Boyd Gaines is as likeable as ever as Herbie (although I wish he could make more of the scene in which he decides to leave Rose; it calls for more bite). Katie Micha—an understudy who played Baby June at the performance I attended—really made the most of her part. Tony Yazbeck as Tulsa sang/danced "All I Need is the Girl" with polish, but seemed a little long-in-the-tooth for that role.
Lenora Nemetz, Marilyn Caskey, and Alison Fraser are perfection as the three strippers. Again, the credit goes to both wonderful performers and to director Laurents, who has made sure that none of the potential laugh-lines in this production are missed.
It is surprising to see Gypsy back on Broadway so soon after the last revival, which starred Bernadette Peters. But as much as I love Bernadette Peters, that was not an ideal role for her. She is endearing and vulnerable in a way that—in the right role—can make my heart melt. But Mama Rose is not endearing or vulnerable; she is something of a monster. And LuPone is playing the role that is written.
--L. D.
|
