Review: GYPSY at Shaw Festival

"A Musical Fable." This is the subtitle that author Arthur Laurents chose when writing his script for the blockbuster musical "GYPSY." And after a  delay of almost 3 years due to covid, the Shaw Festival in Niagara on the Lake is presenting their version of this famed musical fable at the Festival Theatre. 

Written as a vehicle  for powerhouse Ethel Merman,  Laurents searched for the perfect composer for GYPSY. A young Stephen Sondheim was fresh off of writing lyrics for Laurence's latest hit WEST SIDE STORY, and his name was mentioned as composer. Merman wanted a sure thing, so Jule Styne was engaged with Sondheim once again relegated to lyricist. The alchemy that ensued is responsible for one of the most perfect musicals ever written. 

Based on the memoirs of Gypsy Rose Lee, Momma Rose gets  to perform such classics as "Everything's Coming Up Roses,"  "Some People," "Wherever We Go," and "Roses Turn" while tearing up the stage as the larger than life, overpowering quintessential  stage mother.  When vaudeville was at it's the heyday, Rose was parading her two young daughters around, auditioning for any jobs that could make her Baby June a star-- oh, and the other day too (Louise). Herbie, a former booking agent agrees to help the ladies out, and he soon falls in love with Rose. But vaudeville is dying, burlesque in coming into vogue, and the outcome is not want Momma was expecting.

Styne's score begins with a dynamic overture that was gloriously played by the orchestra under the leadership of Paul Sportelli. Expertly crafted lyrics by Sondheim play with Rose's name, with subliminal messages abounding. Both Sondheim and Laurents  use the fable concept of a moral to their story being conveyed by an animal. Rose's dreams have a talking cow guide her, surely for comic effect. But her dreams become a pathetic reality as a dancing cow is featured in the children’s act. When she  sings “I had a dream..” in different musical numbers, it’s clear she wishes for a much different life.  Styne writes a tour de force existential soliloquy of sorts for Rose for the show’s finale which morphs from internal dialogue to nervous breakdown to full blown center stage stand and perform strip tease. 

Past interpreters of Rose include Bette Midler in a TV version, while Bernadette Peters, Tyne Daly, Linda Lavin and Patti LuPone have all had their own personal successes on Broadway. The multi layers of Rose can lead to introspection, outward fits and fights, head on confrontations and nervous breakdowns. No wonder the roll is so coveted.

Kate Hennig gets to put her own personal stamp on the role of Momma Rose. Hennig speaks out with authority and demands attention from her children and adults alike. And while there was drama in her intentions, their rarely was fire. The subtleties of an overbearing personality bordering on mental illness are all there in the script and libretto, but one wanted  more intensity in her portrayal. By the finale of Act One when Rose belts "Everything's Coming Up Roses"  she should be teetering on the edge of reality and depravity with what she is about to demand of her daughter. Hennig simply may be playing too likable for too long. But by her "Rose's Turn"  she  brilliantly embodies regret, sitting dejected at the side of the stage before her true star quality emerges, showing  what she would have become in her day.

Julie Lumsden turns in a near perfect portrayal as Louise, aka Gypsy Rose Lee. Lumsden has a lovely singing voice and gave a beautiful version of "Little Lamb," a song that often is painful to listen to in lesser hands. Her metamorphosis from young, awkward  teen to a woman who commands attention was riveting.

Madelyn Kriese lands all the kicks, twirls and screeches as June. And when she pairs with Lumsden to sing "If Momma Was Married" the two form an electric bonded pair.

Choreography by Genny Sermonia was engaging in the many iterations of "Let Me Entertain You" and effective in the smaller ensemble numbers. Drew Plummer,  who read much more as adult than young chorus boy, was cast as Tulsa. He  turned in some fine singing and dancing while the turntable spun in  "All I Need is the Girl." Jason Cadieux as Herbie served as a kind, grounding force who is unable to change Rose's ways, despite being in love with her.

The three strippers number "You Gotta Have A Gimmick" is usually a sure fire highlight of the show, as the ladies each bring their own special talents to the stage. And while costuming was effective, Jenni Burke as Mazeppa never looked  or sounded quite comfortable with her grizzly voice and  bumping with a trumpet. Elodie Gillett was graceful enough as Tessie Tura and Krystle Chance as Electra elicited some flashy lights, but the number never sizzled.

Director Jay Turvey is given a large cast and stunning scenic design by  Cory Sincennes. The effective use of a turntable allows the many required scenes to flow beautifully, including backstage/on stage scenes that rotate with ease. Turvey's direction is apt but I wished for a deeper connection to these troubled characters.

At The Shaw, the high production values and multi talented cast make for the doings of a hit. Bringing this fable to life  needs a greater, more heightened sense of tension to make it the moral lesson in human behavior that  it's originators intended. No small task in presenting one of the greatest musicals ever written.

GYPSY plays at the Festival Theatre of The Shaw Festival in Niagara on the Lake, Ontario through October 7, 2023. Contact shawfest.com for more information

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