BWW Reviews: West Coast Ensemble Makes a Daring Turn with Gypsy

Gypsy
book by Arthur Laurents
music by Jule Styne & lyrics by Stephen Sondheim
directed by Richard Israel
West Coast Ensemble
@ Theatre of Arts Arena Stage
through July 3

Revered as one of the greatest book musicals ever written Gypsy, based on the memoirs of Gypsy Rose Lee, and with collaborators Arthur Laurents, Jule Styne and Stephen Sondheim is rarely performed except on Broadway due to the demands of the role of Mama Rose, which has been played first by Ethel Merman, and also to acclaim by Angela Lansbury, Tyne Daly, Bernadette Peters and most recently Patti LuPone. Films have starred Rosalind Russell and Bette Midler (TV), and there's another theatrical one still in the works for Barbra Streisand. The tough stage mother to end all stage mothers is a monster role to play. She's on stage 95% of the show and must act, sing and dance 150%; there's no faking this one. In a daring production for Equity Waiver, West Coast Ensemble (WCE) is now presenting Gypsy, half a century after it first opened in New York in 1959. Jan Sheldrick has the role of Rose and she runs with it, acting up a storm, giving it her best shot. Under Richard Israel's skilled direction, the production is somewhat flawed, but overall impressive with its very strong rendering on a smaller stage.

Promoted as Gypsy Stripped. we have been told that this version would take away the frills and concentrate on the characters of the time period, that is the 1920s-1930s, and tell the story as simply and realistically as possible. In that capacity Israel has achieved his goal and with Stephen Gifford's perfectly simplistic set, that represents the decay of vaudeville and the stench of burlesque, and basic furniture and props to represent the backstage dressing rooms, flea bag hotels, dives and poverty-stricken areas across the USA at that time, it is picture perfect.

Since I am such an avid fan of this show, and have seen it many times, I wish to comment on a couple of things. Firstly, the Gypsy overture is one of the best overtures for a Broadway show. Perhaps a recording would sound better than the faltering orchestral sounds here. On the plus side, Israel's addition of Louise's past flashing into her mind before she goes on stage to strip for the first time, with a chorus of her childhood friends entering from The Shadows and little Louise holding the full-length mirror that she looks into is ... brilliant. On the opposite side, I do not like the omission of some of Louise's number "Gypsy Strip Routine" where she talks to the audience. It clearly displays how comfortable she has become onstage and shows a nice transition from awkwardness to silky smooth delivery. Was it length that caused it to come out? It's really only a few minutes more. Or its references to French and Greek, which may be misinterpreted by younger ears? Whatever, it should stay in.

The cast, under Israel's slick command, is super. Sheldrick nails Mama Rose as does Stephanie Wall as Louise. Wall's reactions in the Act I finale to Tulsa's departure is compelling as is her solo of "Little Lamb". Underplayed as she arranges her stuffed animals around her and very moving! Michael Matthys makes a wonderful Herbie, a difficult role to play as he's in Rose's shadow most of the time. But when he stands up to her in Act II, Matthys makes his exit truly heartbreaking. Also great are Kaylie Swanson as June and particularly little Kaleigh Ryan as Baby June, Eric Allen Smith so eager and ambitious as Tulsa, and Tony Pandolfo and Larry Lederman terrific in a variety of small roles throughout. Right on! to Sara J. Stuckey as Tessie Tura for having the guts to let it all hang out as she struts her stuff. The Newsboys and the entire ensemble move very well to John Todd's traditional choreography.

Gypsy is a bold move for WCE, but they are carrying it out with strength, guts and bravado.

photo credit: Carla Barnett

To post a comment, you must register and login.