Gypsy Revival: LuPone is a Knockout

I'll cut to the chase: Patti LuPone is a frickin' force of nature in the new Gypsy revival.

I didn't see the recent Bernadette Peters version of Gypsy. At the time, I justified it to friends and students by saying I was just plain sick of the show, but it was really that I just couldn't see Peters in the role. Her performance on the Tony Awards that year didn't change my mind: she seemed to be working her ass off, sure, but that doesn't mean she was right for the part. Even at 60, this girl is no Mama Rose.

Now Patti is another story entirely. What a perfect marriage of performer and role. As I sat in the St. James Theater watching LuPone barrel over her co-stars, I felt as though I was witnessing history. At first, Patti seemed a little matter-of-fact with her lyrics and line readings, as is her wont, and some of her breathing choices seemed ill-timed, but there seemed little question that LuPone was born to play this part. LuPone brings just the right amount of playfulness to her early scenes with Herbie: "You'll Never Get Away from Me" is charming, yet with an appropriate sense of tension.

Then everything builds to a head until "Everything's Coming Up Roses," which was simply mesmerizing. As the first chords of the song sounded, I heard "hmphs" of recognition from surrounding audience members. "Oh, I love this song," they seemed to be saying. Then the tension and mania began to build, offering a chilling glimpse into the mind of a twisted woman, made all the more so by the growing sense of horror on Herbie's and Louise's faces. It's a stunning use of irony: the words and music stand in stark contrast to the unsettling content of the scene. Arthur Laurents (who also wrote the original book) stages this number by having Louise attempt to run away, only to have Herbie stop her. It was a great directorial touch, among many throughout the show, and brought out the true gravity of the events. 

There's been a lot of talk since Patti started playing this role at the Ravinia Festival, then brought it to Encores at City Center, about how Gypsy may just be the best musical ever. Well, it's certainly up there, most definitely in the top three. There's absolutely no question that it has the best overture ever.

I like to play a game in my Boston Conservatory course, in which I posit "There's no such thing as a perfect musical." I then challenge my students to name a musical they think is perfect, and I attempt to point out some flaw in the show. Gypsy inevitably comes up, and I usually point to "Little Lamb." Yeah, the moment needs a number, but not this one. It's in the right place, and evokes the right sentiment, but the song is dull lyrically and musically until the lovely bridge. ("Did somebody paint you like that. Or is it your birthday too?') Laura Benanti as Louise performs the number well, but it's just so unbearably twee.

Oh, and what up with the lamb? During the birthday scene, some stagehand comes onstage working a Lion-King-like puppet, going "baaaaah." It's like something out of Japanese Noh theater, in which we're supposed to ignore the stagehand because he's dressed in black. It's a real "What the Fuck?" moment. 

Benanti in general makes for an especially strong Louise, particularly during "All I Need is the Girl." Is there a more heartbreaking use of dance in the musical theater canon? As Tulsa describes his dance act, Louise fantasizes about being the girl Tulsa is describing, and unconsciously begins to dance along with him. (This is made all the more heartrending when we learn that Tulsa and June have eloped.) Tony Yazbeck is simply terrific as Tulsa, a real natural talent on stage, but it's Benanti who really shines. Benanti also deftly handles the transformation during "Let Me Entertain You," although she has a tendency to push a bit too hard during the confrontation scene with Rose. 

The other star of this Gypsy is Boyd Gaines as Herbie. I've seen productions of this show in which Herbie fades into the scenery, but Gaines makes the character charming, sympathetic, and fully three-dimensional. Gaines is particularly effective in act 2, when Herbie's edges start to fray, and evokes a palpable yet controlled sense of rage and frustration.

As for the supporting cast, Leigh Ann Larkin as June is overly broad and melodramatic. Uh, this ain't Ibsen, honey. In Larkin's defense, however, this overstatement may be historically accurate: June Havoc was, by all accounts, a real scenery chewer. (Check out this audio clip from Mexican Hayride.) One of the primary joys of this production is "You Gotta Get a Gimmick," enhanced by three distinct and memorable characterizations from Lenora Nemetz, Marilyn Caskey, and most of all the delightful Alison Fraser as Tessie Tura.

So, is Gypsy the best musical ever? Head on down to the St. James and decide for yourself. This is one production, and one performance, that no respectable lover of musical theater will want to miss.

Comments

[Esther]

Hey Chris,
I saw "Gypsy" last summer at City Center - my first time seeing the show on stage, my first time seeing Patti LuPone on stage - and it was a thrilling experience.

First, I was three seats from the aisle that Ms. LuPone walked down as she made her entrance. That was pretty exciting! I totally agree with you about "Everything's Coming Up Roses." It was mesmerizing. People were standing up and applauding with so much enthusiasm at the end of the song. I'd never seen a response like that.

And I'm so glad you liked Laura Benanti. I'd never seen her perform before, and I thought she was wonderful. She did such a great job of transforming from an awkward teenager to a mature, confident adult.

I'm seeing "Gypsy" after our brunch, and I'm really looking forward to it!

[Steve On Broadway (SOB)]

Chris, Forgive me if you've already covered this point (or if I'm just downright forgetful), but what would the other two of your all-time top three musicals be?

As for June Havoc, I can't help but wonder if she's going to have an opportunity to see this "Gypsy," and if so, what she'll think of it. Hard to believe she's 94 years young.

[chris caggiano]

My 10 Best Shows Ever
1. My Fair Lady
2. A Chorus Line
3. Gypsy
4. Fiddler on the Roof
5. Oklahoma
6. West Side Story
7. The Music Man
8. Guys & Dolls
9. Sweeney Todd
10. The King and I

I'm constantly rearranging this list, taking shows off, putting shows on. But this is how I feel as of 5:35 PM 3/18/2008.

[Caroline]

I am a big fan of Gypsy. I am never bored when watching this show (and movie for that matter). I have seen Tyne Daly and Bernadette Peters in the lead. I will see Patti LuPone in mid April. Tyne Daly was fabulous. Bernadette Peters was definitely a little disappointing. And I am really looking forward to Patti's performance, particularly after reading your post!

[Dorian]

Now, I'm pretty sure I read in an article--ages ago, so I neither have the link nor remember the source, and, it follows, all this information is /highly/ suspect--that Sondheim himself really dislikes Little Lamb. He was discussing musical mistakes he had made, or something like that. I wish I knew where I had read that.

I want to see this production, but I live in, like, the dead centre of Canada (Winnipeg), so I'm a little far-removed. And being a seventeen-year-old student, I don't really have the disposable income to fly out (though I would. In a heartbeat.)

Finally, hi. First-time commenter here.

[chris caggiano]

Dorian,

Hi and welcome. Yeah, I seem to recall that the only person who really liked Little Lamb was Jule Styne, and he fought tooth and nail to keep it in.

So it wouldn't surprise me if Sondheim wasn't a fan. He's pretty open about the "mistakes" he's made in the past, especially as a lyricist. "I Feel Pretty" from West Side Story in particular reportedly makes him cringe: not character-appropriate, and too many phrases that are difficult to make clear with the meter of the music. "For a small fee" and "Wire-spoke wheel" are two examples he's pointed to in the past.

Regards,

Chris

[Steve On Broadway (SOB)]

Chris, That's a superb list.

You may cringe, but mine is as follows:

1. Gypsy
2. Guys And Dolls
3. Cabaret
4. Dreamgirls
5. Chicago
6. My Fair Lady
7. The Last Five Years
8. Assassins
9. A Funny Thing Happened On The Way To The Forum
10. Your most overrated musical ever, South Pacific (sorry!)

But Fiddler On The Roof, Oklahoma!, The King And I, West Side Story and Sweeney Todd - along with Kiss Me Kate, Evita, Nine and Into The Woods - would certainly be among my top 20.