MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 16b THE TOP TEN – #3

MUSICAL MAYHEM: MY TOP TWENTY-FIVE MUSICALS – Part 16b

THE TOP TEN – #3

Note: This is Part Two of Two

"Maybe there's something wrong with your bumper." – Mazeppa, Revoluntion in Dance. 
"I'm a strip woman, slob. I don't do no scenes. Now screw!" – Tessie Tura.

Gypsy … continued!

2006 – 2018

LuPone/Rose…A Tale of Show Biz in Three Parts

Part One: The Tryout

– Ravinia Pavilion, Ravinia, IL

August, 2006. Not a script in sight. Actual scenery. Not a lot, but more than your typical staged concert version. Costumes. Lights. Come to think of it, this wasn't a staged concert version at all. This was a fully-staged, fully-choreographed production of the 1959 classic. With an honest-to-god Broadway STAR. Icing on the cake? The famed Chicago Symphony Orchestra as the pit band. Some pit band, right? The cheering going on throughout the evening from the capacity crowd inside the Pavilion and the crowd on the lawn outside probably was heard in nearby Highland Park. Hearing Gypsy's famed overture played by the CSO is a treat not to be missed. Director Lonny Price didn't offer any new insights in this production, but he did offer us a nicely-paced, efficient staging cast with skilled actors. Bonnie Walker recreated the original Jerome Robbins' choreography. Everything looked and sounded good. The Tribune critic didn't much care for either Jack Willis' Herbie or Jessica Boevers' Act Two Gypsy Rose Lee, though he loved her Act One Louise. Truthfully, I don't remember Willis at all, and I found Boevers charming. But above all, this was LuPone's show. Although she'd done Ravinia gigs before in other Sondheim vehicles, Rose was the role everyone wanted to see her tackle. And tackle it she did. Again, not a blazing new interpretation of Rose, but a solidly acted, charismatic, take-no-prisoners characterization that served her well and sent her audience into frequent rapturous applause. And the famed voice? Well, Jule Styne's score never sounded so good. Little did we realize at the time, though I think we all hoped, that this was just the first step on a journey that would end up at Broadway's St. James Theatre. – at the Ravinia Pavilion, Ravinia, IL

"I Like Men Without Hair…" After the disastrous 1998 Marriott production of Gypsy, I was surprised that we were able to convince our friends to come with us to Ravinia, but we did. As luck, or good timing, would have it, I was able to switch our seats from the back of the Pavilion to the front row, so we were able to see everything really up close and personal. One of our friends is pretty bald. During Louise's strip, one of her lines in the Minsky's segment is "I like men without hair." Apparently she spotted Michael, came down front, leaned over and pointed at him and said the line. Perfect. Just perfect. And for the record, our friends loved this production.

Part Two: The Dress Rehearsal

– New York City Center, New York

Possibly the best logo for the show...ever! Seriously. Is a first name necessary?

July, 2007. Prior to the Ravinia outing, there was a legendary feud between Patti LuPone and librettist/director Arthur Laurents, with Laurents famously stating that he would veto casting LuPone as Rose in any New York production of Gypsy. Fortunately for the theatre world, Ravinia is nearly 800 miles from New York, and equally fortunately, Lonny Price could not have cared less about a feud and cast Patti LuPone as Rose. Word apparently reached Laurents about LuPone's performance, peace overtures were made, and the feud ended. (For more about the feud and an extensive recounting of this production as well as the 2008 Broadway production, I highly recommend reading Laurents' Mainly on Directing: Gypsy, West Side Story, and Other Musicals. Fascinating, detailed read.) If Ravinia was the tryout, City Center was the dress rehearsal for the Broadway productions a few months down the road. Already in command of the role, LuPone added more subtlety and nuances, began to discard the "standard" Rose portrayal to make it her own. She purred, she charmed, she yelled, she terrified, she sang her songs to the rafters. With no disrespect to her Ravinia castmates, the folks Arthur Laurents assembled for this outing were superior in every role, especially in the pivotal roles of Herbie, Louise, June, and Tulsa (Boyd Gaines, Laura Benanti, Leigh Ann Larkin, and Tony Yazbek, respectively). A limited three-week run at the massive City Center, this was as good as they get. From a close-up seat in the orchestra, we were in musical theatre heaven. – at the New York City Center, New York

Part Three: Broadway

– St. James Theatre, New York

October, 2008. LuPone on Broadway and Bob's 60th birthday, one day late, two memorable events! Patti LuPone's journey as Rose to Broadway took three productions, from a slimmed-down version in an outdoor venue to a limited-run production in a massive Midtown barn to, finally, a fully-mounted, mouth-watering Broadway production that had critics praising production, Arthur Laurents' direction, the cast, and, especially, leading lady LuPone. Gone were any suggestions of tentativeness. Gone were any nods to any other Rose. What LuPone gave us was a Rose as portrayed by an actor of uncommon skill, who just happens to have a singular singing voice that can thrill and enchant at the same time. With invaluable support by co-stars Boyd Gaines, Laura Benanti, Leigh Ann Larkin, and Tony Yazbek, this was a Gypsy to revel in, rich in subtlety, depth and nuance, yet never once did it forget that the show also has a great deal of fun and humor, most especially on display when Marilyn Caskey (Electra), Lenora Nemetz (Mazeppa), and Alison Fraser (Tessie Tura) tore up the stage in "You Gotta Get a Gimmick." Lest anyone question LuPone's iconic position as one of the great Broadway stars, the ovations she received upon her entrance, and the conclusions of "Everything's Coming Up Roses," and "Rose's Turn, and when she took her bow, would put anyone's doubts to rest. Thrilling. Spectacular. Breathtaking. – at the St. James Theatre, New York

Tony Time: Although Gypsy would be overshadowed by the stunning revival of South Pacific at Lincoln Center, it picked up three Tonys for acting: Boyd Gaines (Supporting Actor in a Musical), Laura Benanti (Supporting Actress in a Musical), and Patti LuPone (Best Actress in a Musical). This would be LuPone's second Tony Award, long overdue, and the third Tony awarded to leading ladies playing Rose, the other two being Angela Lansbury and Tyne Daly. As mentioned in Part One, the original Rose, Ethel Merman, was snubbed in favor of Mary Martin in The Sound of Music.

– Chicago Shakespeare Theater, Chicago

February, 2014. Someone really needs to give Gary Griffin a director's handbook since the poor dear doesn't seem to grasp the difference between a proscenium stage and a thrust stage. The main stage at Chicago Shakes is thrust. Don't direct the show as though you're at the Shubert. He also could use a mentor since his direction was pedestrian and lackluster. This production didn't really hit its stride until late in the first act when Louise and June sang a sensational version of "If Momma Was Married." The song gave what was, up until that point, a sporadically entertaining show, the shot in the arm it needed. Jessica Rush as Louise was a marvel. I loved, loved, LOVED her. Kudos to the delicious trio of strippers - Rengin Altay, Molly Callinan and Barbara E Robertson - who chewed the scenery with abandon and stopped the show with "Gimmick." Keith Kupferer's Herbie was competent, if unmemorable. But Gypsy, for all its glories, needs a dynamic Rose to send it soaring. Louise Pitre got there at the end with a full-stop terrific "Rose's Turn" and her acting was solid throughout, but her singing wasn't strong. It was almost as if she was saving her voice for the two big act-closing numbers and she nailed both of them, but the other numbers felt tentative, even uncomfortably lackluster. (In fact, Bob and I thought she may have been ailing and that accounted for the weak voice. She wasn't.) Don't get me wrong... Pitre ended strong, but getting there, vocally at least, was a challenge. Overall, fine production values with a big (for the Shakes), brassy orchestra. The house was curiously small. We enjoyed it, but not my favorite production of this true musical theatre classic. - at Chicago Shakespeare Theatre, Chicago

– Connecticut Repertory Theatre (Harriet Jorgenson Theatre), Storrs, CT

Those eyes say everything.

(edited from an earlier post)

July, 2014. Michael James Leslie must have one helluva agent to get that kind of billing for that small of a role. He did a fine job, mind you, but still. The staging needed polishing and tightening, the costumes and hair were ghastly and the sets varied between good and we-ran-out-of-time, but the lighting was excellent, the small orchestra crisp, and the cast generally up to their tasks. (The strippers were far, FAR too young and had the misfortune to wear the show's worst costumes, but were energetic and exceedingly funny and delivered these wonderful parts with great glee.) As Rose, Leslie Uggams sang the crap out of the iconic score and delivered a strong, vibrant performance that would have been improved with stronger direction and some more rehearsal. (Bob wanted to spend some one-on-one time with her.) Ms. Uggams can do more with her eyes than many actors can do with a much-rehearsed speech…warm and loving one second, fierce and scary the next. Her "Rose's Turn" was just plain fabulous. The theatre was very small and from our second row seats, we got Madame Rose and pals up close and personal. Summer stock, even a bit cheesy at times, but glad we saw it. A terrific show with a true star. – at Connecticut Repertory Theatre (Harriet Jorgenson Theatre), Storrs, CT

– Savoy Theatre, London

May, 2015. A fresh, vibrant production that proved once again that Gypsy may be the best musical ever written. Although director Jonathan Kent's production egregiously billed star Imelda Staunton as "Momma Rose" in the program, oh, the horror, the horror!, that was just about the only thing in this production one could find fault with. The actor playing Herbie was, frankly, too old, but did a solidly professional job. Lara Pulver's Louise was simply excellent. And what about Imelda Staunton, you might ask? Did she live up to the breathless hype? The answer is an unequivocal "yes." She was that good. Kent offered some unique directorial touches throughout that added nuance to the show, especially in the final scene between Louise and Rose. After her fiery and desparate "Rose's Turn," the final slow, resigned, if not defeated, walk offstage behind her daughter at the show's conclusion, gave Rose a frailty not seen before. Her Rose was unique, thrilling, unforgettable. And the audience ate it up. Great production values, sparkling orchestra, packed house. Worth the trip to London. — at the Savoy Theatre, London

– The Muny (Municipal Opera), St. Louis

 Free seats way, way up there!

The massive stage of the Muny.

 

July, 2018. The 11,000 seat outdoor Muny is a tough house to play. It's just so massive, but director Rob Ruggiero kept a laser focus on what was happening on that enormous stage, making the 11,000 seat house seem almost intimate. That, my friends, is talent. Ann Harada's entrance as Electra was one of the funniest bits I've seen in ages. In less accomplished hands, it could have been too much, but Harada's timing was comic flawlessness. It's been said time and again, but Gypsy's success depends on its Rose, and Beth Leavel's Rose was nothing less than phenomenal. Truly, this was one of the best portrayals of this complex role that I've seen, full of love, rage, fierceness, tenderness, and full-on selfishness. Her "Rose's Turn" was a powerful explosion of talent, and the audience greeted it with a full-on ovation. This was a first-rate, first-class production from start to finish. And all of it performed in beautiful Forest Park with majestic, giant trees framing the stage. Magical. – at The Muny, St. Louis

– Porchlight Music Theatre (Ruth Page Center for the Arts), Chicago

November, 2018. Sadly, saving the worst for last… In the cold, uninviting environs of its new home, the star of Porchlight's production of Gypsy, E. Faye Butler, displayed three qualities: loud, yelling, and inaudible. What she didn't display was any subtlety or interpretation. But then, neither did her production. It looked cheap. It looked under-rehearsed. There was absolutely no warmth or chemistry among the cast. The staging was lots of wandering around. And what was with that idiotic decision to combine "Goldstone" and "Little Lamb," robbing Louise of her own applause? Leave the damn material alone. This was, to my distress, a production rampant with misses. Overall, it played like a not-very-good community theatre production. I liked the orchestra. "If Momma Was Married" was good. "You Gotta Get a Gimmick" stopped the show as usual. The actress playing Louise was quite good until she became Gypsy Rose Lee, then she inexplicably became bland. I've never been a fan of Porchlight, and this did nothing to change my opinion. Their slogan is "American Musicals, Chicago Style." If this is an example of "Chicago Style," the city should sue for defamation of character. The critics absolutely fainted over this, and for the life of me, I can't imagine why. I suspect the cast gave a different performance at the start of the run, but, by this time, had gotten bored, lazy, tired, whatever. Or it could just be Porchlight's critic-proof status in Chicago. A major and sad disappointment, especially since I've long been a fan of Ms. Butler and thought she would be an exciting Rose. Guess not. After a thrilling production of Downstate at Steppenwolf the previous week, this was truly a letdown on the local theatre front. Sad, just sad. – at Porchlight Music Theatre (Ruth Page Center for the Arts), Chicago

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And with that, I'm up to date with Gypsy. So, who was my favorite Rose, you ask? Hands down…Tyne Daly. Surprised? Arthur Laurents claimed LuPone was his favorite, and without a doubt her performance was jaw-dropping. But, and this is a big "but," despite all the praise lavished on her performance by myself and the critics, I was still aware I was watching Patti LuPone. Good as she is as an actor, and believe me, she is mighty good, she cannot completely shake off the LuPone aura, charisma, whatever you want to call it. That voice is just too damn good and too damn distinctive. Tyne Daly, however, became Rose. She was Rose from her "Sing out, Louise" and never once became Tyne Daly. And to be honest, there were times, like at the end of "Everything's Coming Up Roses," where she scared the crap out of me. She may not have had the LuPone voice, but Daly was magnificent,  truly unforgettable. In my book, the definitive Rose.

"Something wrong with stripping?" See ya!

© 2019 Jeffrey Geddes