Gypsy
September 9–19, 2011
Carpenter Performance Hall
Irving Arts Center
Lyric Stage opened its 19th season with GYPSY in the Irving Arts Center’s Carpenter Performance Hall.
Before there was “Toddlers and Tiaras,” there was Mama Rose. Lyric Stage opened its 19th season with GYPSY—the story of Rose Hovick, the mother of all stage mothers, and her relentless pursuit of stardom for her two daughters, Louise and June.
GYPSY has been celebrated as the greatest American musical by numerous critics and writers, including Ben Brantley and Frank Rich of The New York Times. Rich called GYPSY American musical theatre’s answer to King Lear. The show, with music by Jule Styne, lyrics by Stephen Sondheim and book by Arthur Laurents, is loosely based on the memoirs of legendary striptease artist, Gypsy Rose Lee. The score contains many popular standards, including “Everything’s Coming up Roses,” “Some People” and “Let Me Entertain You.” The Lyric Stage production of GYPSY was the first since the 1959 original Broadway production to be performed with a full, 39-piece orchestra playing Sid Ramin and Robert Ginzler’s original orchestrations.
GYPSY has enjoyed four Broadway revivals since its 1959 debut and, over the years, the music and orchestrations have been reworked to fit production needs. Jay Dias, Music Director at Lyric Stage, worked closely with the Jule Styne estate to restore the musical to its full, 1959 sound. Dias described the process saying, “When the show opened at the Broadway Theater in 1959, Jule Styne had orchestrators Sid Ramin and Robert Ginzler use a string section that consisted of violins, cellos, and bass. After the initial Broadway run closed, the orchestration was adjusted to allow for theatres to use a more conventional string section division. For the Lyric Stage production, Jule Styne’s estate and Sid Ramin himself have not only given permission for the original GYPSY cello parts to be restored, but an originally written acoustic guitar part, cut before the first rehearsal due to budget and seating capacity of the pit, will finally be heard. Lyric Stage’s production will form the basis for the Jule Styne estate’s work on the critical edition of the score, and it’s quite a thrill that Lyric Stage audiences will soon be part of this major step in the restoration of one of the greatest scores in American musical theatre.”
Lyric Stage Founding Producer Steven Jones reassembled the powerful creative team from the last season’s critically acclaimed production of MY FAIR LADY. GYPSY was piloted by Director/Choreographer Len Pfluger and Lyric Stage Music Director Jay Dias conducted the 39-member Lyric Stage orchestra.
Sue Mathys, star of the original German production of SUNSET BLVD, starred as Rose. Mary McElree, last seen at Lyric Stage as Kim in BYE BYE BIRDIE, played Louise and Sonny Franks, last seen at Lyric Stage as Doolittle in MY FAIR LADY, played Herbie. Ashton Smalling, Baby June in the Ravinia Festival production of GYPSY that starred Patti LuPone, played Dainty June. Caitlin Carter, of Broadway’s CHICAGO, played Tessie Tura. Also in the cast were Shannon McGrann (Electra), Sara Shelby-Martin (Mazeppa), Michael Whitney (Tulsa), Kevin Acosta, Alex Altshuler, Brian Boyce, Luke Boyce, Mallory Brophy, Caitlin Darby, Michelle Foard, Gordon Fox, Katharine Gentsch, Ben Giddings, Hunter Hall, Skylar Halliday, Taylor Hennings, Logan Macaulay, Chet Monday, Bella Murphy, Stephen Raikes, Thomas Renner, Neil Rogers, Michael Sylvester, Chloe Voreis, Lisa Ward, Keith Warren, James Williams and Kristen Wright.
Gypsy: Kris Noteboom review
Let Them Entertain You
If you gotta have a gimmick, Lyric Stage's is to go back to the roots of Gypsy. Update: additional comments about the orchestra from Gregory Issacs.
There are about a dozen shows on television depicting the unerring devotion and uncompromising ferocity of stage moms, those parents who push their children to excel, at all costs.
Gypsy, presented at Irving's Lyric Stage in its original full orchestration thanks to the impressive work of musical director/conductor Jay Dias [see bottom of review for thoughts on this from Gregory Sullivan Isaacs], is the bible of pushy parents, and a show considered by many to be the greatest American musical.
To understand the importance of a show like Gypsy, one only needs to peruse the creative team who gave the show life. Jule Styne wrote the music, Stephen Sondheim the lyrics, Arthur Laurents wrote the book and Ethel Merman originated the role of Rose. It's a who's who of Broadway elite.
Add to that the fact that the focus of the show wasn't necessarily to be a vehicle for grand musical numbers. It was about the story. It had a strong plot and characters in addition to some of the most soul-jarring musical numbers ever written.
June (Kristin Wright and Ashton Smalling) and Louise (Taylor Hennings and Mary McElree) are the stage performer daughters of the aforementioned stage mom, Rose (Sue Mathys). In her desperation to make her favorite daughter, June, a star, Rose takes the girls out on the road trying to land on the Vaudeville circuit. Along the way they pick up some stray kids and form a show around June.
During one stop, Rose meets former agent and current candy salesman, Herbie (Sonny Franks). They quickly fall for each other but Rose chooses to keep the relationship professional, coaxing Herbie out of retirement to be her group's manager. Things are going well until Rose inevitably takes her role in June's career too far and prevents the young up and comer from accepting a star-making contract and runs away.
Not defeated, Rose turns her attention to the oft neglected Louise and vows to make her a star instead, prompting the most notable song from the show, "Everything's Coming up Roses," and yielding predictable results.
Calling the show Gypsy when Rose appears to be the main character can seem misleading. But, this turn of events brings the reveal of the true storyteller: Louise, or as she would later become known, the famous striptease artist and burlesque performer Gypsy Rose Lee.
And it's at this point that the brilliance of the show comes to light. Realizing that the story is being told from Louise's point of view creates a seismic shift in perception for the audience and sheds light on Rose as an ultimate tragic figure. Victor Frankenstein when he finally succeeds in creating his monster, only to be overrun by it. It's the ultimate lesson in be careful what you wish for.
Lyric Stage has matched a dynamic show and masterful orchestration with a stellar cast.
Mathys' earnestness and tenacity as Rose lend a depth to the role that can be easily lost. It would be easy to play Rose as a monster, a one-dimensional megalomaniac. But, Mathys imbues her with a latent vulnerability, an unquestionable love for her children, and a healthy dose of delusion. The end result is an incredibly complex character who is actually able to retain some semblance of audience sympathy.
Sonny Franks has that much sought-after ability to absolutely disappear into a role, yet still leave his indelible stamp on it. His turn as Herbie is heartbreaking. He's the one person in the world who is unwavering in his love with Rose. He sees through all of her flaws. The only problem is, she can't. In a cast of characters worth rooting for, Franks' Herbie stands head and shoulders above the rest.
Mary McElree is surprising. And that's a good thing. June and Louise start as young children, the aforementioned Wright and Hennings), but once they're into their late teen years, Smalling and McElree take over the roles. And from her introduction, McElree lays back in the fauna, watching Rose gush over June, performing as the front half of a cow, and generally filling the role of second banana admirably. If you didn't know the story, you'd never expect what happens next when Louise is abruptly thrown into the spotlight.
The development of McElree's Louise is jaw-dropping. Almost in an instant, she moves from being the also-ran of the family, to the unwitting and reluctant star, to a fully developed and confident woman. And none of it comes off as forced or flimsy. McElree carries it.
Aiding in the character's transition is a clothes-dropping montage, one of three such transitions in the show, executed via Len Pfluger's direction. That's just one example of his impressive handling of this project.
Because this particular staging isn't just about putting on a show. It's an important production because it's note for note, the exact same as the original Broadway production. Dias has completed a full restoration of the original score and it is performed by a 39-piece orchestra, including a guitar part that never made it to the original show. In addition to that, the canned music, during the burlesque house scenes, is the original music played on Broadway. Jerome Robbins' original choreography has been implemented. It's really as authentic a production as you'll ever see of this show. And Pfluger manages it all with great aplomb.
There's good reason why Gypsy is considered the greatest of American musicals. It's a decidedly American story and it takes place during a major turning point in American history, the Great Depression and demise of Vaudeville.
Lyric Stage's production gives you an opportunity to see this show like almost no one has ever seen it. The novelty combined with the high production value and powerful performances make Gypsy a must-see.
And here are additional thoughts about conductor Dias and the orchestra's performance in Gypsy, from Gregory Sullivan Isaacs:
In my interview with Jay Dias, the music director of Gypsy at Lyric Stage, our academic discussion about the orchestrations, and the research and restoration to its original glory, did not fully prepare me for what I heard. If you think you have seen Gypsy, and unless you were in the Broadway audience in the '50s, you have nor really seen (or heard) the show.
The orchestrations are revelatory. They are complex, colorful and full of clever details that underline the action. The use of percussion is spare but important to the sound. The orchestra even changes character along with the situation. Sometimes they sound like a major symphony and then, at other times, they sound like a pathetic pit band for a seedy strip joint (not that I would know what that actually sounds like).
Inga Kroll, a friend of mine, plays in the violin section. She said that the violin part is expertly written for the instrument, is very playable, and is an pleasant experience for the musicians. She also complimented Jay as a conductor. She said that he is exceptionally clear, energetic, and knows every detail of the score. This is a real compliment because few such performances of Broadway shows meet these standards. Orchestras always play better when they enjoy what they are doing.
Jay’s work on this score certainly paid off.
Gypsy: Mark Lowry review
It’s almost unthinkable that Lyric Stage could top the best of its full-orchestra revivals of classic musicals from recent years, especially The King and I (2009) and My Fair Lady (2010). But the gang has done it again with Gypsy… Mathys proves herself a force, with a multilayered voice and fierce determination. In the final number, “Rose’s Turn,” which is like the “To be or not to be” soliloquy of musical theater, she captures all the internal anger and emotion that the musical has led up to.
[ Unfortunately the rest of this review is not available since its online source at the Star-Telegram has been removed. ]
Gypsy: Lindsey Wilson review
Overture’s Original Orchestrations Lead Way For Luscious Gypsy… the show is sublimely polished… Sue Mathys is a force, bulldozing her way through Rose’s iconic songs and relentlessly pushing her scenes with a focused, almost manic, determination. She makes the mothers on “Toddlers & Tiaras” look like wimps… Under the energetic baton of Jay Dias and with the talent of 39 musicians, Jule Styne’s classic tunes pour forth with adrenaline-pounding, nostalgia-inducing fervor. Before the curtain even rises on Lyric Stage’s production of Gypsy, there are goose bumps.
[ Unfortunately the rest of this review is not available since its online source at D Magazine has been removed. ]
Gypsy: Alexandra Bonifield review
No Average Bump & Grind: Lyric Stage’s “Gypsy”
Everything does seem to be “coming up roses” for Irving’s Lyric Stage these days, where mounting one fully orchestrated classic musical theatre production after another gives regional and national artists and audiences alike the chance to experience the shows in fully restored auditory splendor. The current offering, Gypsy, (music by Jule Styne, lyrics by Stephen Sondheim and book by Arthur Laurents) is no exception to Lyric’s “golden rule.” First mounted in 1959, Lyric’s production, under the inspired musical direction of Jay Dias, engages all original thirty-nine orchestra instruments in cooperation with the Jule Styne estate’s best intentions. From the moment the overture stirs the audience with robust intonation and sassy spotlighted trumpet solo, the sound fest carries the evening.
The show may be named for the famous stripper Gypsy Rose Lee, and be based loosely on her 1957 autobiography, but Gypsy’s a secondary character; the musical focuses on her Mama Rose’s strife-filled life and vicariously expressed aspirations. When regional esteemed diva Julie Johnson stepped out of the demanding lead for a national touring opportunity, Jay Dias and director Len Pfluger “filled in” Mama Rose’s role with a rare treat for regional audiences. They engaged the international touring artist and national cabaret sensation Sue Mathys to play Mama Rose.
It was a natural fit; Mathys was no stranger to Jay Dias or Gypsy production’s director/ choreographer Len Pfluger. Mathys met Dias sixteen years ago when he was music director and supervisor of Trevor Nunn’s Sunset Boulevard in Germany, in which she sang Norma Desmond; he became her long-time music director. Len Pfluger made his Carnegie Hall debut directing her in Sue Mathys Sings Broadway and Piaf. With this top-flight core team and the orchestra in place, Lyric’s founding producer Steven Jones knew he had a sterling combination. Mathys’ powerful voice, warm and silky when needed to charm or wheedle and bursting with iron-willed grit when life lets Mama Rose down, drives the show with gut-wrenching desperation. Defiantly courageous even facing abandonment, Mama Rose finally takes full command in the show’s last number, “Rose’s Turn”. Mathys fills spacious Carpenter Hall’s bare stage with her dynamic persona and superlative instrument, displaying every iota of the vocal talent and star quality that has earned her the highest of accolades, and standing ovations, on both sides of the Atlantic.
Lyricist Stephen Sondheim commented about Mama Rose: “The fact that she’s monstrous to her daughters and the world is secondary…. She’s a very American character, a gallant figure and a life force.” The New York Times, May 4, 2003
A professional cast of strong, attractive players fleshes out the show, secondary leads to youth dancers, with Sonny Franks lending a stalwart, sympathetic grace to the production as Mama Rose’s ever patient suitor and sole supporter Herbie.
Ashton Smalling, who played Baby June in the Ravinia Festival production starring Patti LuPone, and Mary McElree, Kim in Lyric’s recent Bye Bye Birdie, make a lovable pair of browbeaten but ever-plucky sisters as Dainty June and Gypsy Rose. Their wishful duet, “If Momma Was Married”, delivered with harmonious sincerity and simplicity, is a most satisfying number in Act One. The audience claps and hollers with glee at the Act Two outlandish comic “divertissements” of the trio of sleazy burlesque queens: Tessie Tura (played by Caitlin Carter), Electra (Shannon McGrann) and baleful trumpet-tooting Mazeppa (portrayed with glorious, undignified abandon by Sara Shelby-Martin).
Let them entertain you! Lyric Stage’s cast of fine performers supported by the spectacular orchestra will not disappoint. It’s a first class, classic production.
Gypsy: Lawson Taitte review
Lyric Stage’s ‘Gypsy’ is the total package… Sue Mathys creates a fascinating, offbeat Mama Rose for Lyric Stage’s take on the world’s worst stage-door mother… To make GYPSY work, you have to have a great Mama Rose. Everything else is usually considered icing on the cake. In the production Lyric Stage opened on Saturday, Sue Mathys fulfills the first requirement. She’s surrounded, though, by superb ingredients that prove how rich — and varied — this great musical can be… It’s always a treat when a whole meal, not just the main course, is sensational.
[ Unfortunately the rest of this review is not available since its online source at Dallas Morning News has been removed. ]