Breaking New Ground: A Landmark African-American Revival of “Gypsy”
The current Broadway revival of the classic musical “Gypsy” is ground breaking for certain reasons, yet still roots itself in the beloved original and other revival versions. To quote the song “Some People,” this Gypsy can proudly state “Some people ain’t me!”
This is the first time that Gypsy is presented by a largely African-American cast and helmed by an African-American director, George C. Wolfe. They take on the challenges and joys of “What may be the greatest of all American musicals,” according to critic Ben Brantley. Of course, many people coming to see Gypsy have expectations derived from having seen earlier renditions and the original, with Ethel Merman and Jack Klugman, is well known.
Other theater goers will certainly be drawn to seeing McDonald and the rest of the Black actors and actresses taking on roles that have traditionally been White. Do they come across as “African-American” in their portrayals, or not? This is something each theater goer will have to determine. For the most part, this cast strives to fulfill the classic roles and mannerisms, and they seem to be playing it “color blind.” Any identifiably “African-American” mannerisms or lingo are very subtle here.
But they are present, if you look carefully. We see that the actress who plays June, the younger daughter, is light-skinned (Jordan Tyson) and Ms. McDonald is not. Is that why she is the favored daughter in the vaudeville act, when the girls are young? If so, this is an interesting casting move. And during the final song “Rose’s Turn,” a gut-wrenching, cathartic solo number sung by Mama, McDonald invests great power and pain, more soulfully, than the previous actresses who sang this. She does put her own stamp on the number.
If you listen on YouTube to prior cast recordings, you’ll hear how the main character of Mama has been depicted by several esteemed actresses. Over the years, Mama has had quite a different voice, but they all circle back to the original, as played by Ethel Merman. Thus, we compare the brassy, commanding (and sometimes a hint off-tune) Ethel Merman to the prettier sounding Patti LuPone. Bernadette Peters was somewhere in the middle, Bette Midler and Tyne Daly portrayed less brassy versions but seemed closer to Merman. Each Mama will be compared to the previous ones; however, Audra McDonald is the only African-American Mama, and she definitely sounds the most operatic.
Another thought: does McDonald come across as “working class” as did Merman in the original production? Merman embodied the scrappy, no-holds-barred ambition of someone with barely anything but energy. I do think that McDonald does her best at this, and we see it in action especially when she pleads with her father (“Pop,” Thomas Silcott) in the first half of the show.
Overall, the production was wonderful and pulled in the audience members so thoroughly. The singing, acting and staging were excellent, the costumes and set fit wonderfully. It really was a genuine Broadway musical experience, with the dramatic punch balanced with comic moments. The fact that Black actors played the family as well as several of the minor roles was remarkable for its rarity. And even more remarkable was the fact that two of the romantic male parts were played by white men: Herbie the agent and love interest of Mama was played by Danny Burstein and Tulsa, one of the Boys who flirts with Louise but runs away with June, was played by Kevin Csolak. Yet it is not seen as provocative. It seems to be staging. Or is it more?
Briefly, Gypsy is about Rose, the ultimate Stage Mother, wildly ambitious, aggressive and full of dreams (she frequently is saying and singing “I had a dream”). Rose shepherds her two daughters, June and Louise, all around the vaudeville circuit. But eventually, as they grow older, the younger June runs off with a guy in her act. Louise really cannot shoulder the full act and vaudeville is waning in popularity. But as a teen, she accidentally discovers the world of striptease and becomes popular for her quirky act. This is actually based on the best-selling book Gypsy: A Memoir by Gypsy Rose Lee.
However, while the book focuses mostly on Louise, the musical focuses primarily on Mama Rose, a complex character who is at turns abrasive and fascinating. And as played by Audra McDonald, she has a depth that is at times stunning. She holds the stage in her hands.
The remainder of the cast is rather good overall. The older Louise, played by Joy Woods, sings a most touching version of “Little Lamb.” It was nearly heartbreaking. Her Louise progresses from being an awkward, loyal daughter to self-assured, canny performer. We see how as a shy teen she hunches over her shoulders, but as a young adult she walks straight as a soldier.
Danny Burstein, as Herbie the manager and Rose’s boyfriend, is by turns funny and touching, and worked very well with the family unit. The strippers, by turns goofy and risque, were also highly entertaining. They fulfilled their advice with the rousing song “You Gotta Get a Gimmick.”
It was also so fitting that none other than Diana Ross was spotted in the audience at the performance I saw. (Would she be Rose or Louise? Or neither?)
As the mother of two daughters, I watched this Gypsy and absorbed the dynamics of this bigger-than-life family. I admit to being teary eyed more than once. The reflective theater-goer would watch this musical and wonder how much Mama Rose is in us all.
There is a precedent of big-name beloved Broadway musicals that have revivals featuring all or largely African-American casts: Hello, Dolly! in the late 1960s and Guys and Dolls in 1976 are the two best known. This is aside from a few dozen traditionally all-Black musicals such as “The Wiz,” “Jelly’s Last Jam” (for which Wolfe wrote the book), “Dreamgirls”, “Sarafina”, “Black and Blue”, “Purlie” and “Ain’t Misbehavin’”. Now Gypsy has (finally) been cast in this manner, but interestingly enough with many but not all the major and minor characters. It is definitely intriguing. And the cast did gel quite well.
I highly recommend this revival of Gypsy, for traditional Broadway musical buffs as well as those who are less inclined to catch a show. Yes, it is steeped in history (as is the subject matter) but it also puts a contemporary stamp on this classic. And it is greatly entertaining and affecting.
Gypsy at the Majestic Theatre 245 West 44th Street NY NY 10036