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

********************

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

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

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

THE TOP TEN – #3

NOTE: Due to the length of this entry, I'm dividing it into two parts. This is part one of two.

The one, the only, the incomparable Gypsy.

The original marquee, the original theatre, the original star.

# 3: GYPSY – Book by Arthur Laurents, Music by Jule Styne, Lyrics by Stephen Sondheim

When Gypsy opened at the Broadway Theatre in New York on May 21, 1959, esteemed critic Walter Kerr gushed in his review the following morning that Gypsy  was "the best damn musical I've seen in years." New York Times critic Ben Brantley, when reviewing the Bernadette Peters' 2003 revival, proclaimed that Gypsy "may be the greatest of all American musicals, a show assembled by the magical team of Arthur Laurents (book), Jule Styne (music) and Stephen Sondheim (lyrics)." The alternately reviled and admired former New York Times reviewer, Frank Rich, stated, in covering Tyne Daly's triumphant 1989 production, that Gypsy "is nothing if not Broadway's own brassy, unlikely answer to King Lear." Many musical theatre scholars and experts consider Gypsy to be the perfect musical, and who am I to disagree? Gypsy is like a lean, mean, musical machine. Not an ounce of fat on it, well maybe a teeny bit of bloat, every scene, every word of dialogue, every lyric, and every melody is exactly right for developing character, scene, and moving the action forward. The one teeny bit of bloat mentioned in the last sentence occurs during the "Mr. Goldstone" scene when the hotel manager interrupts the scene and chaos ensues, ending with Rose faking a sexual assault. In the 2008 revision by Arthur Laurents, the hotel manager and that part of the scene is cut, and the scene now seems more organic, more real. And in 2018, do you really want anyone faking something as serious as sexual assault? It wasn't funny in 1974 when I first saw the show, probably wasn't all that funny in 1959. Maybe the original Rose, Ethel Merman, managed to wrangle some humor out of it. Moving on….

While the book, lyrics, and music of Gypsy give a director, a choreographer, designers, and actors everything they need to create a memorable production, there are a few traps skulking around. One: It's far too easy to make Rose nothing more than a leather-lunged monster, and with an interpretation like that, the production is doomed. The audience doesn't have to root for Rose, they can even hate her with all their being, but they have to see her as a person, with, perhaps, an overabundance of faults, but also with some redeeming qualities. Rose may be selfish, egotistical, delusional, single-mindedly stubborn, and sometimes flat-out cruel, but she also has a sense of humor, an unshakeable belief that what she is doing is right for her daughters, and a perhaps unconventional, but equally unshakeable love for her children. The flip side to all of this is that it's also easy to try to soften Rose too much, make her likeable. Rose isn't likeable. Admirable, maybe. Charismatic, most definitely. Honest and direct, without a doubt. Uniquely singular, absolutely. But likeable, no. Trap number two: directing and playing Herbie as an afterthought. At first glance, Herbie may seem like a throwaway role, but he's far from it. If Rose is the driving force behind the action, Herbie is the glue that grounds the show, gives it a moral and compassionate compass. He is genuinely a kind and good man, endlessly patient, and he sincerely loves the train wreck that is Rose. So, when she pushes Louise to do the star strip in Wichita, she delivers the coup de grâce that almost destroys Herbie and he realizes he has to leave in order to survive. When Herbie is directed and performed with skill and subtlety, that scene should be a shattering one. Sadly, that's not always the case, and the scene devolves into a shouting match. (This also often happens in the Louise/Rose scene right before "Rose's Turn.") In my opinion, if you don't remember Herbie's performance, the role was tossed away. Trap number three: Louise's "Let Me Entertain You" strip sequence. It's vital to the show because it shows us, the audience, how Louise morphs from the nervous neophyte into the glamourous, sophisticated, elegant star, Gypsy Rose Lee. But, for whatever reason, directors and choreographers seem to want to rush through it, not take the time that it needs to fully land. You need to see Louise become more comfortable, more relaxed, more skilled with her striptease. You need to see her humor develop and, finally, you need to see her having fun and being comfortable in her new skin. You can't skimp on the costumes and it's imperative that you play each short segment as its own scene. And, finally, when Louise finally reaches the peak of stardom at Minsky's, you can't chintz on the production values.The best version of the strip I've seen was in 1974 with the Angela Lansbury production, where they used both showgirls and chorus boys in the Minsky's segment; the worst, by far, was the sanitized version done just recently by Porchlight Music Theatre in Chicago. Let's give this segment the respect it deserves.

Ethel Merman. Angela Lansbury, Tyne Daly, Linda Lavin, Jana Robbins, Bernadette Peters, Maureen Moore, Patti LuPone, Louise Pitre, Imelda Staunton, Beth Leavel, Alene Robertson. All of these talented ladies have played Rose in first-class professional productions. Bette Midler played Rose on television to great reviews, but, frankly, I found it lacking. The inimitable Rosalind Russell played Rose on film, in a movie largely derided today, but, when released in 1962, was a major hit, and, in my opinion, is a flawed, but underrated film, no matter how much Lisa Kirk dubbed for Roz. And how many thousands of talented women have created their own Roses over the decades in regional and amateur theatre? It just may be the single most challenging part ever written for a woman in musical theatre, and I'm confident that it's on many a bucket list. A complex, thrilling role in a perfect musical. It really doesn't get much better than Gypsy.

Fun Fact: In Steven Suskin's essential Opening Night on Broadway (and its sequel More Opening Nights on Broadway), Suskin remarks that Gypsy's relatively short run of 702 performances, less than half that of the inferior The Sound of Music, which won that year's Tony Award, tied with the very-good-but-not-as-good-Gypsy Fiorello!, might have been due to the rather adult-for-the-time content of the show, but, based on complaints from creators Jerome Robbins and Arthur Laurents, more likely due to Ethel Merman (Rose) and Sandra Church (Louise) often walking through the show, resulting in some adverse word of mouth. (Bob and I saw Tony winner Christine Ebersole walk through her performance in 42nd Street and experiencing that is indeed disappointing.)

A Baffling Fact: Gypsy won no Tony Awards at the 1960 awards ceremony. None. Zero. Nada. Given its reputation today, that seems inconceivable, but there it is. Even the great Merm was snubbed; the tchotchke for Best Actress going to audience and critic uber-favorite Mary Martin for The Sound of Music. Not the first time the Tony Awards have bewildered and certainly not the last.

Original Cast Recordings and Such: Gypsy has had many original cast recordings. The major recordings include the 1959 Original Broadway Cast with Ethel Merman, the 1962 film starring Rosalind Russell and Natalie Wood, the 1973 Original London Cast with Angela Lansbury, the 1989 New York revival starring Tyne Daly, the 2003 New York revival with Bernadette Peters, the 2008 New York revival starring Patti LuPone, and the 2015 London revival with Imelda Staunton. The only one of these I don't own is, perhaps surprisingly, the Merman version, and that's because, well, I don't like it. I'm not a Merman fan to begin with and I think all she does is bray throughout the recording, no subtlety, no nuance. I know, I know. Turn in my card, but it is what it is.

And now, without further ado, curtain up, light the lights…GYPSY!

1974 – 2003

The first Broadway revival-1974, Winter Garden Theatre. I tried to get in on a trip to NYC, couldn't get standing room and the cancellations line was enormous.

– Opera House, Chicago

The London cast recording. Mimicking the logo from the Merman original. This was dumped in favor of the stunning logo as shown in the Broadway window card.

London program.

July, 1974. Opening and closing nights. This was the first time I saw a production of Gypsy and the first time I saw Angela Lansbury on stage. What an introduction to both! I bought tickets for the opening night as soon as the show was announced. Listening to the 1973 London Cast Recording, starring Angela Lansbury, after being familiar only with the Merman original and the somewhat flat film soundtrack, was a revelation. Did I hear interpretation? Did I hear something other than just shouting out the lyrics at full volume? Indeed I did. And live, in person, and in character, Lansbury was just jaw-droppingly good. Her Rose was funny, yet could be cold as steel in a heartbeat, ambitious, determined, and yet, ultimately, affecting. I will never forget her "Rose's Turn" and the moment after the thunderous ovation ended and the audience sat down, but with Lansbury still smiling and bowing, when the audience realized that the applause, the ovation, everything, was all in her mind. You could see the mania in her eyes. It was chilling. Rex Robbins was a capable Herbie, a likeable, honorable man. Zan Charisse, niece to famed dancer Cyd Charisse, was a lovely Louise, and her transformation from shy Louise to the confident Gypsy Rose Lee was a joy to behold. British child star Bonnie Langford recreated her London role as Baby June. Also in the cast were Maureen Moore as Dainty June, Mary Louise Wilson as Tessie Tura, John Sheridan as Tulsa, Broadway vet John C. Becher as Uncle Jocko, Gloria Rossi as Miss Cratchitt/Mazeppa, and Sally Cooke as Electra. I bought tickets for the closing performance two weeks later at the interval. Stunning. – at the Opera House, Chicago

Cast Tidbits: By this time, Angela Lansbury had won two Tony Awards, for Mame and Dear World. She would win her third for Gypsy. Mary Louise Wilson was Lansbury's standby and would win a Tony Award in 2007 for her riveting portrait of 'Big Edie' Beale in Grey Gardens. Maureen Moore made her Broadway debut with this production, but thirty years later, would renew her acquaintance with Gypsy as Bernadette Peters' standby in the 2003 revival of Gypsy. There is a YouTube audio clip of Moore performing "Rose's Turn" in performance and it's so good, all you can say is "lucky audience."

– Marriott Theatre, Lincolnshire, IL

January, 1984. It was over nine years before I would once again experience the many joys that are the musical Gypsy. In 1984, as now, Marriott Theatre, then Marriott's Lincolnshire Theatre, was noted for producing quality productions of musicals with a live orchestra, tucked away in their own sound-proofed booth in the back, and, then (see "From the Casting Department"), starring the best of Chicago musical talent. By this time, star Alene Robertson had earned a reputation as the go-to actor if you were looking for an Ethel Merman type or simply wanted an actor with stage presence to spare and a loud, diction-perfect voice. While Marriott's Gypsy didn't land with the same "wow" as Angela Lansbury's production, Robertson prowled around the Marriott stage with authority and that booming voice of hers that had me thinking that this was probably the closest I would see of what Ethel Merman did with the part all those years earlier. She was magnetic…and certainly pretty much made everyone else fade into the background. For the record, Paula Scrofano, another Chicago name to be reckoned with, played Louise, and I remember liking her quite a lot, and Vince Viverito played Herbie, and I don't remember a thing about him, which says something about his performance, the sheer overpowering of everything by Ms. Robertson, or both. My reaction would be quite different when I revisited star, venue, and vehicle nearly fifteen years later. – at the Marriott Theatre, Lincolnshire, IL

From the Casting Department:  Back in the day, most Chicago theatres primarily cast local Chicago talent. Oh, sure, the occasional star popped in now and then, but usually not in a theatre like Marriott or Candlelight, the two primary non-Loop musical houses. Not anymore. It's almost become rare to see local talent headlining a Marriott show. Witness a recent production of Sweet Charity at Marriott where the three leading female roles were all cast with non-Chicago actors, none of them bona fide stars and, though competent enough, certainly could have been cast with local talent, if the quality of the magnificent ensemble was any indication. You'd think the local branch of Equity would care about this practice, but, apparently, they don't. Sigh.

– St. James Theatre, New York

Me in front of the St. James. Back when I was...young(er), much younger.

The St. James as seen from our hotel room at the then Milford Plaza Hotel, now known as Row NYC.

June, 1990. The lights dimmed. The audience burst into applause. The iconic first bars of the overture began. The audience burst into applause. The audience burst into applause as the overture segued from song to song before erupting into the closest thing to a standing ovation while sitting down when the overture finished. The audience applauded when the curtain rose. And when Tyne Daly made her way down the aisle of the St. James shouting out that legendary line, "Sing out, Louise!, " well, frankly, I wondered if the applause would ever stop. You see, both show and star had won Tony Awards that previous Sunday, Best Revival for Gypsy and Best Actress in a Musical for Daly, and audience excitement and expectation was at a fever pitch. We were not disappointed. Not one teeny, tiny bit. Tyne Daly is an actor of almost frightening range, and she brought this skill to a portrayal of Rose that was fierce, sexy, funny, but always, always driven, focused, unapologetic, and determined to get her way at any cost. Daly may not have the vocal chops of a Merman or a LuPone, but she took Rose's songs and acted the living crap out of them, always hitting the notes, never being off pitch, and always making sure the numbers were honest. Seared into my memory are the last minute or so in "Everything's Coming Up Roses" when Daly grabs Louise, a remarkable Crista Moore, in a hug, before, a second later, abruptly and violently pushing her away, and then, in the final moments of the song, claws at the stage floor, rises, faces front and on the last "you", still looking front and totally ignoring everyone and everything except herself, points stage left to where Louise is holding onto Herbie, an equally remarkable Jonathan Hadary, as the curtain quickly descends. Thrilling…and absolutely chilling. And it just got better, culminating in "Rose's Turn," which brought the audience, cheering, to its feet. With not a weak performance in its cast, principals and ensemble alike, this was a Gypsy to savor. I feel privileged and honored to have seen it. – at the St. James Theatre, New York

– Marquis Theatre, New York

May, 1991. House seat. A former friend of mine was friends with Jana Robbins, who played Mazeppa in the show and was standby for Rose, and since I was in New York to see a revue he'd written at Don't Tell Mama and wanted to revisit Gypsy, he arranged for Jana to get me one of her house seats. This was officially a continuation of the original run, though a couple of months after Linda Lavin, replacing Tyne Daly, closed the show at the St. James. The cast was essentially the same as that at the St. James. Tyne Daly was, if possible, even better as Rose, and vocally more powerful and secure. Crista Moore and Jonathan Hadary remained in top form as Louise and Herbie, respectively. And I'd be remiss if I didn't give a nod to Robert Lambert's flawlessly danced Tulsa, and Barbara Erwin, Anna McNeely, and Jana Robbins as the seen-it-all-done-it-all strippers. Once again, Gypsy wove its spell. – at the Marquis Theatre, New York

Jana Sidebar: After the performance, I meet my friend and Jana at a restaurant for drinks. Jana was/is charming, funny, and delightfulling brassy. I liked her immediately. Her CD, "Face to Face" is eminently listenable, and you can find YouTube clips of her doing a couple of numbers from Gypsy. Sadly, haven't seen her in decades, but she remains very much in the business, now concentrating on producing and directing.

– Marriott Theatre, Lincolnshire, IL

April, 1998. In Marriott's 1984 production of Gypsy, Alene Robertson basically was the show. In Marriott's 1998 production with Robertson reprising her role as Rose, she basically sunk the show. Oh, the Robertson powerhouse vocals were there for the big three numbers, but three strong vocals do not a performance make, and, in the end, she delivered a lackluster, indecisive Rose, neither earth mother nor monster. We went with friends of ours, and they absolutely hated it. Bob and I pretty much felt the same way. I searched and searched for programs, etc. from this production to no avail. I must not have kept any of it. And, that, folks, is an indication of how much I didn't like this production. For twenty years, this ranked as the worst professional production of Gypsy I'd seen. In 2018, however, a truly awful production would take its place. (See Part 2.) – at the Marriott Theatre, Lincolnshire IL

– Shubert Theatre, New York

December, 2003. New Year's Eve matinee performance. The casting of beloved Broadway star Bernadette Peters as Rose was met with equal parts disbelief and excitement. Excitement because, well, it's Bernadette Peters, two-time Tony winner, returning to a Broadway stage. Disbelief because, well, it's Bernadette Peters, sweet, soft, dare we say 'adorable?' Bernadette Peters with that unmistakable and unique voice. Could she believably inhabit the coarse, earthy, brassy, monstrous Rose? Well, yes and no, as it turned out. The audience clearly adored her, she turned on the charm when Rose had to be charming, and the stage presence and charisma were at full force. But, director Sam Mendes' vision of a more 'human' Rose muted the life force of the role, and Peters, despite working very hard, ultimately couldn't completely deliver the goods. Regrettably, Peters' distinctive voice just couldn't do justice to Rose's three big aria-like songs, "Some People," "Everything's Coming Up Roses," and "Rose's Turn." She didn't bomb with them, but I didn't get goosebumps, either. And, ultimately, though enjoyable, I felt the whole endeavor was just ill-advised. Reviews for this production were all over the place. Ben Brantley of the New York Times loved the production and hailed Peters' performance. Variety, the show biz "Bible," criticized both the production and its, in their critic's opinion, miscast star. Everyone, however, liked Tammy Blanchard's Louise. I did as well. John Dossett did well as Herbie. Also in the cast were David Burtka as Tulsa (Neil Patrick Harris' husband), Kate Reinders, Brooks Ashmanskas, MacIntyre Dixon, and, as the showstopping strippers, Heather Lee, Kate Buddeke, and the indispensible Julie Halston. In his book, "Mainly on Directing…," Arthur Laurents heavily criticized Mendes' direction and the scenic design, and felt Peters had the potential to be a great Rose, but wasn't properly directed. She was too buttoned-up. It's rumored that later in the run, the directorial shackles came off, either per director Mendes or per Peters' demands, and her performance became electrifying. What we saw was hardly electrifying, but Bernadette Peters and the Rose we saw was professional and hard-working, but not especially remarkable, in an equally competent, but not especially remarkable production. – at the Shubert Theatre, New York

And with that ends Part 1. Part 2 coming soon!

© 2019 Jeffrey Geddes

CONCERTS!

CONCERTS!

And now for something a little different, the first in an occasional series.

A stage. A performer or group of performers. An audience. And that, in a nutshell, is a concert.

Starting things off… a very special evening?

A VERY SPECIAL EVENING WITH PIA ZADORA – Drury Lane Theatre, Oakbrook Terrace, IL

November, 1985. In 1982, Pia Zadora won the Golden Globe award as New Star of the Year for her critically-reviled role in the equally critically-reviled film, Butterfly. She won this award over Kathleen Turner for Body Heat and Elizabeth McGovern for Ragtime. Rumors flew fast and furious that her then-husband-slash-sugar daddy, Israeli billionaire Meshulam Riklis, in effect "purchased" the award for her with gifts and Vegas junkets for the Golden Globe voters. Très scandal!  She also won that year's Golden Raspberry Award for "Worst Actress" and "Worst New Star." Truly, Zadora was having an award-packed year. Not mentioned in any of this, however, was the fact that Zadora had a decent theatre resume going back twenty years, including a few Broadway roles, and a national tour or two, most notably Applause in the Bonnie Franklin role. Her 1983 film, The Lonely Lady, was just as painful as Butterfly, and Zadora became a joke, a punch line. But then, in 1985, Zadora released an album of standards accompanied by the London Philharmonic called Pia and Phil, and, guess what? It wasn't bad. Not bad at all, with Zadora displaying an unexpected set of pipes that reminded one a bit of Liza Minnelli. In conjunction with the album's release, she embarked on a tour, called "Standards of Excellence," with one of the stops being suburban Oakbrook Terrace's gaudy, over-the-top Drury Lane Theatre. How could anyone resist? Well, Steve and I couldn't. We were living in the western burbs then (Yes, I know, but it seemed like a good idea at the time.), so we hopped in the car and off we went to Oakbrook Terrace. Zadora's bio,1 ½  pages of very small print, I kid you not, gave one the impression that she was, well, a really major star. A bit heavy on the ego perhaps, but the proof is in the pudding, as the saying goes, and, if you were expecting to gleefully witness a train wreck, I'm afraid theatergoers were sadly disappointed. Backed by a 40-piece orchestra with a full string section (!!), Zadora sang a lot, chatted a lot, even poked a bit of fun at herself, and, not surprisingly given her theatre background, seemed at ease with the audience. The audience was warm and receptive, unlike the assessment from the Tribune music critic, and if her vocalizing didn't offer definitive versions of anything, and if it all started to sound a bit alike and a bit too packaged, it was still a pleasant way to spend an evening. – at the Drury Lane Theatre, Oakbrook Terrace

Pia and the Sardine Bar: Chicago's late and lamented Gold Star Sardine Bar was a jewel of a nightspot located at 680 N. Lake Shore Drive (Née 666 N. LSD, the address was changed by new owners to, supposedly, disassociate the building with its previous financial problems. Urban legend, however, says the God people got involved because of the satanic overtones to the number "666." I prefer the latter explanation. More fun.). My living room is larger than the Sardine Bar, yet they always kept the venue booked with folks from local great Patricia Barber to Tony Bennett to Liza Minnelli to Pia Zadora, complete with a 35-piece orchestra. Although I didn't see her there, I understand that the orchestra was crammed into the room leaving space for only a handful of patrons, who had to stand behind the bar. Pia, honey, ever hear of a combo??

Pia and that Golden Globe: In a 2015 interview, Zadora insisted that her Golden Globe was won fair and square, and that she won because those wacky members of the Hollywood Foreign Press Association really believed in their heart of hearts that she was a better actress than Kathleen Turner or Elizabeth McGovern. Oh, Pia…..

And speaking of oversized egos…

THE MITZI GAYNOR SHOW – Drury Lane Theatre, Oakbrook Terrace, IL

October, 1987. The program billed the evening as such: "MITZI GAYNOR starring in THE MITZI GAYNOR SHOW.” Well, kinda obvious in my opinion, but after just rereading all two pages of Gaynor's bio, written in worshipful prose, I'm convinced that one of Gaynor's life goals is to see her name in print as often as humanly possible and to convince everyone that she is one of the greatest stars ever. (She isn't.) The program notes continued the breathless hyperbolic prose, and I distinctly remember being rather put off by it. Which was a shame, really, because Gaynor's show was slick, professional, and hugely entertaining, and I may have enjoyed it more if I hadn't been assaulted by all the unnecessary verbiage of praise. Yes, Gaynor delivered the goods, and at fifty-six she was singing and dancing with the best of them, but if Pia Zadora's concert two years earlier seemed a bit packaged, Gaynor's show was delivered with a rehearsed precision that forbade any hint of spontaneity. Gaynor, pro that she is, however, managed to make her chitchat seem off the cuff and the audience, Steve and I were among the youngest there by a few decades, couldn't wait to leap to their feet at the show's end. Don't get me wrong. I enjoyed the evening. I really did. It's always nice to see a talent at their best, but I so wish Gaynor and her public relations folks could have let me decide for myself whether or not she's the best thing since sliced bread. She's a terrific B tier performer, no more, no less, and there's nothing wrong with that. Dial down the ego, Mitzi. – at the Drury Lane Theatre, Oakbrook Terrace, IL

And now for a true star…

JULIE ANDREWS – Chicago Theatre, Chicago, IL

January, 1988. So Pia "won" a Golden Globe, starred in a handful of awful movies, had a limited, but successful theatre career, and went on a few concert tours. I would dare say in 2018, the reaction to hearing her name would be "Pia, who?" Mitzi stopped doing movies in 1963, is most famous for the lackluster South Pacific, did some very successful TV specials, and was a Vegas regular. Still and all, in 2018, the reaction to hearing her name would most likely be "Mitzi Gaynor? Heard of her. Wasn't she in the movies?" And then there's Julie Andrews. No introduction needed. No "Julie, who?" The Broadway star of The Boy Friend, My Fair Lady, Camelot, and the legit adaptation of her film smash, Victor/Victoria. The film star of Mary Poppins, The Sound of Music, Thoroughly Modern Miller, 10, S.O.B. (note…if you haven't seen S.O.B., put it on your Netflix queue now.), Victor/Victoria, The Princess Diaries (both), and even a character voice in two Despicable Me installments. Scores of television appearances/specials. She's even the author of children's books. Add to all this, an Oscar, a recipient of a Kennedy Center honor and a DBE, making her Dame Julia Elizabeth Andrews. That, ladies and gentlemen, is true star cred. Add class and an abundance of stage presence, and, well, you have the makings of a remarkable concert. It probably goes without saying that Andrews did not disappoint her adoring audience. You got all the de rigueur Andrews songs from her Broadway and film hits in addition to some popular classics. Backed by a skilled orchestra and looking at ease, Andrews wove a spell. I had a grand time! – at the Chicago Theatre, Chicago

Opening Acts: Although Pia Zadora had an opening act, I can't remember who it was. I don't believe Gaynor had one, since her show had two acts and an interval. Ventriloquist Jay Johnson opened for Andrews, and he was superb.

Victor/Victoria…Film vs. Stage: I'm simply mad about the film Victor/Victoria. Full stop. The story, the score, the acting, all of it. When it was announced that Chicago would be one of the stops for the stage adaptation of V/V on its way to Broadway, I was absolutely thrilled. Sadly, what was presented on the Shubert stage was a mess. Numbers from the film were cut in favor of substandard replacements; the stage actors, while all pros, didn't quite land as well as their film counterparts; even Andrews, in what would be her first Broadway appearance in over thirty years, seemed uncomfortable and, oddly, tentative. I pretty much hated everything about it, and the show is one of my all-time theatrical train wrecks.

FERRANTE & TEICHER – Norris Cultural Arts Center, St. Charles, IL

October, 1985. The legendary duo of the grand pianos didn't disappoint in an evening of their greatest hits. The Norris, a pleasant 1000 seat house in St. Charles, was packed with fans, Steve and I again being among the youngest by a generation or so. In fact, we went with Steve's parents. Come to think of it, Ferrante and Teicher was a perfect show to see with one's parents. Void of the celestial choir and orchestral backup found on their albums, the concert was elegant in its simplicity of two grand pianos and two men who knew how to make beautiful music on them. They would retire from performing four years later. – at the Norris Cultural Arts Center, St. Charles, IL

MARIA FRIEDMAN SINGS SONDHEIM – Café Carlyle, New York

May, 2006. The elegant, pricy Café Carlyle is the perfect venue for an intimate evening of song stylings by a talented singer. An evening of all Sondheim tunes delivered with elan makes it even more perfect. And if that talented singer is Maria Friedman, it makes the evening even more perfect than more perfect. A few years earlier, we'd seen Friedman in the sadly under-produced and underrated The Witches of Eastwick in London's West End and immediately fell in love with her. At the Café Carlyle, we fell in love with her all over again. Warm and personable, Friedman, backed by piano and cello, made the 70 minutes or so fly by, left us wanting more, and made one truly appreciate the genius of Sondheim's music. We had the opportunity to chat a bit with her after the show, and she made us feel that our presence at the performance that night absolutely made her day. This was a first-class evening from start to finish. – at the Café Carlyle, New York

About Ms. Clayburgh… In New York, you'll never know who's going to be at the next table. That evening, my next door neighbor was Jill Clayburgh. No, I didn't recognize her immediately. She looked familiar, but… Then she laughed and started talking to her tablemates and, well, her voice was unmistakable, and I just stared at her and blurted out, in my charming and elegant way, "Oh my God, you're Jill Clayburgh!" Nice, Jeff. So cool! Fortunately, she took pity on this blithering idiot, smiled, and said something sweet and kind, and we all went back to our drinks. She was appearing in a revival of Barefoot in the Park. Have no idea why we didn't see that. A few years later, shortly after Clayburgh died in 2010, Bob and I saw her daughter, Lily Rabe, in Seminar, and, wow, could you tell she's Jill Clayburgh's daughter. The voice, the mannerisms, the laugh. Jill Clayburgh was a great talent taken from us too soon.

AN EVENING WITH BETTY BUCKLEY – Symphony Center, Chicago

May, 1999. Prior to this concert, I'd seen Betty Buckley four times. First in the early 70s in Broadway's Pippin as Catherine. Then in the late-80s, post-Cats, post television's Eight Is Enough, in a very strange performance at the late, lamented George's, a lovely cabaret/jazz club on Kinzie, behind the Merchandise Mart. That was followed by performances in Sunset Boulevard, first in 1994 in London, shortly after taking over the part of Norma from Patti LuPone, in a performance that was vocally superb, but tentative in the acting department. Then two years later in 1996 on Broadway, after replacing Glenn Close, in a performance that was confident, assured, and oozing with star charisma. No one can deny the woman's talent, and the packed house at Symphony Center, aka Orchestra Hall, including a huge contingent of gay men, cheered at almost everything Buckley did in a long evening of songs and reminisces. I was not among them. Underneath the well-rehearsed chat, there lurked a coolness, an aloofness that I found off-putting. Oh, she sang all the big hits, including a couple from Sunset, and, of course, "Memory," but I just couldn't warm up to her. Claiming "Meadowlark" from The Baker's Wife has always been her song, when in truth it's considered one of Patti LuPone's signature songs, was a jarring bit of ego that didn't sit well with me. By the end of the evening, I was frankly tired of it all and scooted out after the last number, skipping the encores, a first for me. – at Symphony Center (Orchestra Hall), Chicago

Betty Sighting: In 2010, Bob and I went to a cabaret show at Feinstein's at Loew's Regency starring Michael Urie and his Ugly Betty co-star, Becki Newton (more about that performance in another installment). After being seated for the second show, Bob got up to use the loo. In the lobby he ran into Betty Buckley, who was leaving the club after seeing the first show. According to Bob, she was warm, friendly, and just plain nice. Huh. Wasn't expecting that. Glad to hear it.

While we're on the subject, let's talk about that George's gig…

BETTY BUCKLEY – George's, Chicago

May, 1989. In May, 1989, Betty Buckley was probably most noted for her step-mother role in television's hit series, Eight Is Enough, her Tony-winning performance as Grizabella, that "Memory" feline, in Cats, and her co-starring turn in the lovely, underrated film, Tender Mercies. By this time, she had also survived the infamous Carrie on Broadway. Now George's was just about the perfect place to see a talented performer up-close and personal. It was intimate, the drinks were good, the atmosphere relaxed. Buckley received warm entrance applause, but then shortly after beginning her set, she announced that she hoped we weren't expecting to hear a lot of show tunes because that wasn't what she wanted to do. Well, okay, then. While a performer has every right to determine their program, still and all, there was probably a much more audience-friendly way to state that this wasn't going to be a Broadway singalong. Oh, she sang the occasional theatre song, but the bulk of the show was devoted to some classics, some original stuff, some was good, some was over-interpreted, and the chat was, well, I didn't know what she was babbling about. In the end, she finally did the song everyone came to hear, but she prefaced it by saying this would be a "Memory" that we've never heard before. What? Girl, that song got you a freaking Tony. Quit being weird and just sing the damn thing! Now, truthfully, it wasn't bad, but it was all subdued and introspective and, well, kinda dull. The Tribune critic gushed that the 1989 Buckley was well on her way to becoming her generation's Julie Wilson. Uh….no. While there was absolutely no mistaking Buckley's magnetism and musical professionalism, claiming her to be her generation's Julie Wilson was a stretch. Sorry. There was only one Julie Wilson and she was magnificent. – at George's, Chicago  

  

Gosh, this was fun. Hope you enjoyed it. That's enough concerting for today. Ta! 

© 2018 Jeffrey Geddes