Though Arthur Laurents may have agreed with the notion of recreating Jerome Robbins' choreography, I disagree that he really wanted to replicate the direction. Laurents was the first director to have Rose finish ROSE'S TURN by bowing to acknowledge the audience's very enthusiastic applause... and then after the applause finishes, Rose (as Lansbury played her) CONTINUED BOWING! She was bowing to an audience that was entirely in her mind. It was the most extraordinary moment I've ever experienced in the theater. The audience gasped when they realized what was happening. That was all and only Laurents... and utterly brilliant.
Thanks! You're right. I was trying to make the point that Jerome Robbins and Arthur Laurents had a similar understanding of the piece as opposed to someone like Sam Mendes or George C Wolfe.
The color blind casting confused me too during the transition. Also, I didn't really care for Audra's use of her head voice. It's not how I picture Mama Rose singing.
I am a HUGE STAN of Miss McDonald. I felt her switching to head voice in the middle of phrases was distracting. That being said, it was still AUDRA, and I feel horrible for even saying that. I will still love and support everything she does!
@@jonathanrio6587 I totally agree. Despite that distraction, she was still as incredible as she always is. She received a standing O after Rose's Turn. First time I've ever seen that happen during a Broadway show. It brought tears to my eyes because she deserved it.
@jonathanrio6587 LOL I feel your pain. It's Audra! How can we say anything negative? But the question is - "Do I want to see Audra play Rose or not?" And the answer is I want to see Audra do anything and everything she wants! More Audra please!
@Darrick.DamitaJoBoy The realization I had while editing my video is that Rose was changing out the boys. She was casting new white boys in the act as it became more successful. I didn't get it during the show but now I understand!
As much as I worship her talent, not sure if Audra’s voice is suited for this earthy, scrappy character. I’m still going to see this new incarnation, but for me I still think Lansbury is hard to beat.
Correction - the hilarious Lili Thomas, who plays Mazeppa, is Asian-American. She was also the first Asian-American to play the role of Mama Morton in Chicago on Broadway.
Correction: Jerome Robbins choreographed On the Town and The King and I, but those shows were directed respectively by George Abbott and John van Druten. Thank you.
Thanks for the correction! I meant he directed west side story and the other two were credits, but when I edited it I saw that it sounded like I was saying he directed all three.
@@MatthewHardyMusical Given his role as director/choreographer for two of the greatest musicals ever written, West Side Story and Gypsy, and the fact that there was a successful retrospective show "Jerome Robbins' Broadway," I imagine many people assume he always did double duty. In the case of On the Town in particular, it's good to remember that Abbott's immense theatrical savvy -- including getting Bernstein, Comden & Green to write "Some Other Time" -- was crucial to getting the show into its final form.
First, as a black performer / I have always called for an all black and color conscious cast of Gypsy. The vaudeville era had so many black stars of their own and time that would’ve suited this story perfectly. When I saw the casting of Herbie, I knew that it wouldn’t be as “risky” and make a statement with an all black cast - like they have with Hello Dolly with Pearl Bailey. I’m sure they did this to be more “mainstream” 🤨 All of Your points about casting and race makes total sense
Thanks for sharing your perspective. I did come to the realization after I recorded this video that I think the intention of the creative team was to do non-traditional and not color blind. I misunderstood the black children turning into white adults as being color bind, but I think the idea is that Mama Rose replaced them to appeal to a white audience as they became more successful. I think it is a valid choice, but I'd still LOVE to see an all black production of Gypsy with some new orchestrations that really lean into the sounds of black America during that time period.
Yes...keep it going! Let's have Latina Mama Rose next as music and dance is so inherent to our culture and we are always left behind in the story of this country. 🥰
@Thisismyusername227 I don't know! I think this could have been an opportunity to do it. Although the new orchestrations might be difficult to get approved by the estate of whoever makes those decisions. Although they did manage to get approval from the Robbins estate for new choreography.
I forgot to say how I got my ticket! Telecharge has $70 lottery tix. There is a $49 general rush. And $39 standing room for sold out performances. I was able to pull some strings and see the show from standing room at the back of the orchestra which was perfectly fine.
Well, you didn't seem bored but you were, at times, confused. Am I summing it up? I became confused when you were discussing Louise and the "Big Strip" sequence but I think I know what you were trying to say. As much as I would love to come to NY and see this, I won't be able too....thanks for your review!
Yes! You are correct. I usually do a little sum up at the end but I missed it on this one. What was confusing about my big strip comment? Happy to clarify!
Good question! What did he think of Sam Mendes production? I don't know if he'd be open to exploring the racial dynamic of Rose being a woman of color or not. Thanks for watching!
Here’s my story about colorblind casting. I saw a revival of Carousel a few years ago and the actor playing Billy was black. My husband went in blind and at Intermission said everyone in town hates Billy BECAUSE he’s black. And I had to explain, no they hate him because he’s a bum who beats his wife. But it occurred to me that sometimes colorblind casting doesnt work.
Your husband's reaction is very telling! Are you referring to the 2018 Broadway revival of Carousel? I remember thinking that the show's approach to domestic violence was very problematic for modern audiences and not helped by the color blind casting. Interesting that the 1994 revival of carousel used non-traditional casting by having Audra McDonald play Carrie. That casting choice was very well received. I also have to clarify that after I recorded this review I decided that this production of Gypsy is indeed non-traditional and not color blind. It think we're meant to see Rose's race as another obstacle she has to overcome.
@@MatthewHardyMusical Yes, a treasure. Midler too. But their Roses weren't belters, which was especially surprising with Midler. She has a huge stage presence but lacks those "take no prisoners" top notes we associate with Merman and Lupone. Once having heard them, I can't help but miss them. But what a crop of great interpreters of a great role.
@@susanmarie2231 my parents brought the cast album after seeing the show and for me that is the one I memorized and hear in my head and I think the very best!
I really enjoyed your review and thoughts. I haven’t seen the production but I’m a Broadway Veteran, a scholar in Black Performance Studies and History… and one thought I believe is Mr Wolfe would have been going for in not changing the script was that Black Mama Rose knew that lighter skinned daughter could pass for white. A Black Mama Rose would so do something like that… make them “appear white”. Again George Wolfe stated emphatically, Audra as well was sayIng that they would not be changing a word of Arthur Laurent’s book. So without seeing the production (I live in SF) but after seeing a still of June or Louise in “White Face”? perhaps that’s what was happening… just saying.
@MADHAUSMARKALLAN OMG! I think you are right! I completely missed that aspect of the casting of June as a lighter skinned black woman. And I didn't realize she was wearing lighter make up, but now that you mention it, I do remember thinking that Jordan looked a lot paler on stage! And then she puts Louise in a cow costume so we can't see her skin color and casts white chorus boys!! And then she gets Herbie, a white man, to act as her agent! Rose was white washing the act! This is all coming together for me now. Thanks for sharing your insight!
I saw the 5th preview and I agree with EVERYTHING you've said. COMPLETELY. EVERYTHING. I had the same thoughts and shared with others exactly as you shared here. Why? Because as you said, the piece works as it is. It's perfect. I feel they went into it to make changes and didn't take in that the changes would diminish the piece. And everything you said about Audra's INCREDIBLE voice is also true - she didn't sing the 5 or 6 'money notes' in her belt, when what was needed WAS the belt. The songs were written for those specific notes to be belted. Using her head or mixed voice could have been okay IF the power was still there but it wasn't. Choosing the head/mixed on other notes that are usually belted was fine (I guess) but those 5-6 'money notes' needed to be belted should be belted, in any production. They are the exclamation marks (!) of Rose's thoughts and emotions. Whether joyful, raging, or crazy. No if, ands, or buts. The guts and fierceness of Rose was turned down a few notches at the precise moment when the end of some songs needed an exclamation mark not an immediate flip into head voice and a soft sound of pretty and calm. The experience for the audience turned the singing into a fine bus & truck. Each of those 5 or 6 times the songs never got the final 'pay off'. Having said that, Audra's singing is beautiful throughout and her acting (especially in Rose's Turn) is SPECTACULAR!
Thanks for the comment and for agreeing with me! :-) After posting my review I often watch it again and disagree with myself! I think they raised the keys for most of the songs to put them in a soprano register. I am REALLY curious what they would have sounded like if Audra had just sung them in the original keys and not used her head voice at all. For a lyric soprano she actually has some really good low notes so I think she could have handled it. But what do I know? I'm sure she played around with each song to find the key that would work best. Still I wonder....
That's very interesting. I didn't realize that the songs had been raised. Like you I missed the growth of the strip sequences. There wasn't much to each one and then suddenly in the Garden of Eden they gave us Josephine Baker dancing up a storm! Impressive dancing for sure but not Gypsy Rose Lee. It's as if they knew the actress could dance so they gave her a big dance number. They also lengthened Tulsa's dance break but that didn't bother me too much nor did having a Mazeppa who could play the trumpet quite well and a lot. Things like that got an ok from me but the belted money notes were a loss unfortunately. The performer I really enjoyed (which surprised me) was Dainty June (the grownup). Now she had the makings of Madame Rose. She was barreling through the production throughout. She had the grit, anger, and belt that was like a Madame Rose. As I later shared with friends, it was as if the director rehearsed the show as a straight play. The acting scenes were all first rate and believable. It felt like had been given a lot of investigative rehearsal time. And then just before previews they inserted the songs and choreography which had all been rehearsed separately for weeks in another studio. The one thing that I also really agree with you on but didn't notice when I saw the show was when the four young black boys became four white teenagers. You are so right about that, too. One or two of those teens needed to be black. And the three strippers could have one black woman. In fact, I think an all-black production (like Pearl Bailey's Hello Dolly) would have been quite effective and permissible on Bway these days. In the end and as you said, the production was a way to see Audra in all her talented glory. She's a great talent for sure. @@MatthewHardyMusical
I didn't realize Tulsa's dance break had been lengthened. Now that you mention it did feel long and it got some applause half way through which made it seem like it ended twice. Loved Mazeppa's trumpeting! I really enjoyed Jordan's performance as June too. They also did a good job of casting a baby June that looked like she could believably grow up to June as an adult. When I edited the review I added a thought bubble that said "Maybe Rose fired the black dancers and replaced them." and then after posting the video I realized that was exactly what happened. Mama Rose is white washing the act for white audiences as they become more successful. So the boys weren't growing up, they were being replaced! This is why the strippers were white (and asian but I couldn't tell from my seat). I think they were showing that Louise stood out because she's black. Maybe that was her gimmick?
The original choreography was pretty much perfect. The trenches were more effective to show the children and act aging, but I didn’t hate the new choreography there.
It's been brought to my attention that they may have involved mama Rose in that transition because they were trying to show that she was replacing the black dancers with white dancers as her daughters were growing up. It makes sense in retrospect but I was confused in the moment. I also thought those Presidential costumes were a bit outside of Mama Rose's budget. She would have probably just dressed them as sailors or other military uniforms that would have been readily available to her.
Depends what Nicole Scherzinger posts on her social media over the next 4 months! :-O Of the past 5 Madame Roses on Broadway 3 have won the Tony for best Actress. So those odds are good. I'm not sure if the fact that a she already has 6 Tonys will work for her or against her. At this point I would choose Audra over Nicole because I value truthful acting over meta theatrics. But the Tony awards are ultimately a marketing tool so we will have to see how things develop over the next 4 months! What do you think?
I saw the show last week. I totally agree, with you on everything. Audra, is wonderful. I hated the striptease segment, with Gypsy. Boring, no tease whatsoever. Really was quite disappointed with that. Not too much applause. Guess, that says a lot about it. Aside, from that. It is good show.
Thanks! I actually came home after the show and watched the strip segment from the Bette Midler made for TV movie to remind myself that the segment can actually be quite effective.
Is that why there is that insane song about the "Moo cow, a true cow named Caroline"? Because Mama Rose created it? Wow, I NEVER clocked that before. Thanks for the wonderful insight!
Even experienced Tin Pan Alley songwriters wrote novelty, corny songs for mass consumption. Child singers were also a much bigger thing than before 50s. Idk Have there been any solo pop music child stars in the last 60 years? Michael Jackson? maybe. His brothers may have something to say about that.
@keouine I don't know if it relates, but a lot of famous pop singers and actors started out as child actors in the new Mickey Mouse Club - Britney Spears, Christine Aguilera, Justin Timberlake, Ryan Gosling, JC Chasez, Keri Russell. Some singers also got their start on Star Search which was a kind of vaudeville of the 1980s.
@christophercobb249 You're welcome! That is exactly why those songs are so hokey. Although Stephen Sondheim couldn't help himself when he wrote "She knows a man cow, a tan cow, who can cow her with a glance." Her withers may not be withering with her but that lyric screams Sondheim. He also purposely mis-stressed the word "decade" to show that it was written by someone who wasn't a great lyricist.
Right? It's basically a one woman show with a HUGE cast. I was thinking the girls who play the Toreadorables have NOTHING to do for the whole first act!
@@MatthewHardyMusical yes the movie paints mama rose as a villain but if you think about she wants the best for her kids. I would love to see a play based on mama roses youth
A Madame Rose origin story! I went down a rabbit hole after recording this review. It seems that there are a lot of discrepancies between June and Louise's accounts of their mother. They both seem to be unreliable sources.
@BroadwayGuy Sure! Chest voice is darker, rougher, and provides the power in one's singing voice. Head voice is lighter and only useful by itself at or near the top of one's range. (I stole that from Quora.) For a male singer the head voice is often called falsetto. I sing in chest and falsetto (head voice) here - ua-cam.com/video/J_E7tkVO1NY/v-deo.htmlsi=01jLv1rdyYDszi3Y&t=718 Now, I'm nowhere near as good a vocalist as Audra so the difference between my head and chest voice is VERY noticeable. Audra is much better at navigating between the two than I am.
Well, I don't think Madame Rose replaced her daughters. But yes, in this production the only explanation is that Louise and June grow up and the boys are replaced to make the show whiter. I don't think the act ever grows up. That's the problem! Thanks for the comment!
Honestly, during the transition I took it as that at some point over the years, Rose replaced the young black kids in the act with white kids, aside from June and Louise of course. I didn't see it as those being the same kids grown up.
You're probably right. It didn't occur to me till I was editing the video that may have been the case. So do you think it is nontraditional casting and the idea is that Mama Rose wanted white dancers to make her act more appealing to a white audience? Or that she started in a black community and then branched out into the whiter world of show business? That would explain why the strippers are all white.
Matthew, “Gypsy” is my favorite musical as well. I have not seen this production, but I can not help but think your observations are spot on. The terms “ non traditional “ and “ color blind” are relatively new terms for me. Would “Hamilton” be “ non traditional “ or “ color blind” casting? just discovered your channel and have subscribed ❤️
Great question! I wouldn’t call Hamilton non-traditional because it’s a new musical, and there’s no established tradition. Ironically, if you performed Hamilton now with white actors, that would be considered non-traditional because the roles have traditionally been played by people of color. Hamilton is color-blind in the sense that the characters don’t see each other based on race. However, it’s not 100% color-blind for the audience, as we’re viewing the story of the Founding Fathers through the lens of contemporary music and the struggles of people of color to find their place in this country. While most of the characters can be played by actors of any ethnicity, casting them all as white would detract from the essential element that makes the piece so groundbreaking.
Color blind casting can work and even enhance a shows impact, in Hamilton just brilliant, but 20th century real life personalities like Gypsy Rose Lee and Madam Rose, the transition is more like “what?”
You're correct! But I don't think they used an actual car as a set piece like they do in this revival. And the choreography for the sign dancers is different because it's not Jerome Robbins choreography. I quite liked what Camille A Brown did with the dancers in this section. Here's the Arthur Laurents direction with Patti it's more tongue in cheek as she kidnaps the boys. lol ua-cam.com/video/z6A9vR48Wnc/v-deo.htmlsi=76YwRAwR-psTB_kk
100% correct. I was inarticulate. I was trying to say that the understanding of the show and its themes were more similar between Arthur and Jerome than someone like Sam Mendes. I'm sure he approached the staging fresh for each actor that stepped into the role.
I really appreciate the commentary about the creative team not allowing themselves to stylize elements of the show (you mention choreography and set design, specifically) within the confines of the material, but forcing in something that is impressive and showcasing of their ability. Another great example of this on Broadway in recent years is any show that recreates popular vocal groups as part of the show - think MJ, Motown, Ain’t Too Proud, Beautiful, Jersey Boys - where the choreography is so over-the-top and in authentic to how The Jackson Five or The Four Seasons would have performed. I appreciate artistic interpretation, but these types of things really take me out of the experience because of the startling removal of me as an audience member to see a Motown group or June & Her Newsboys doing triple pirouettes.
Amen! I agree 100%. I actually saw this production of Gypsy twice. I saw the second preview and the first press preview, and over the two weeks of previews they toned down the dance sequences. When I saw it on the second preview I thought "those untrained dancers who are getting paid in chow mein are too good!" Choreographing this show is kind of a thankless job because you don't have any opportunities to really show off. This is why a director/choreographer like Jerome Robbins is really ideal.
I appreciate your analysis. When I heard they were doing Gypsy with Audra, I thought great, finally an all-Black cast of this classic. I remember a long time ago they came out with an all-Black cast of Hello Dolly w Pearl Bailey and it was groundbreaking, and surprised they didnt do it w Gypsy ages ago. I think that setting it in the world of segregated black vaudeville/burlesque would have been amazing and could add a lot to the Mama Rose character and give the play a whole new depth.
Yes! I wish this would have been an all black cast. But it starts as all black and then becomes white as they become successful. I understand the choice to do it this way but I would have loved an all black cast!
Arthur Laurents would take such offence if you had told him he was essentially doing the Jerome Robbins direction in his revivals (read his book on directing--he thinks he completely re-worked it.) It should be pointed out that while the Sam Mendes production said it used Jerome Robbins' choreography with 'additional choreography by Jerry Mitchell' but actually that was a credits thing and a lot of the choreography was new.
@EricMontreal22 You're right! I take it back. I was more trying to suggest that Jerome and Arthur's understanding of the text were very similar as compared to someone like Sam Mendes. Of course Arthur would change the staging and direction to suit the actor playing Rose. After all he's working with big stars who couldn't be put in cookie cutter direction. Thanks for calling me out! :-)
@@MatthewHardyMusical Right! From Laurents' On Directing he also seemed to think that Robbins was great at stage images and working with dancers but not with any dramatic acting (others of course would disagree here) so he claimed he properly put the focus back on this in his Gypsy productions (and his WSS revival which I strongly disliked but what do I know? ;) )
@@MatthewHardyMusical Yeah I think Laurents really struggled with his contribution being the least recognized--for West Side Story anyway (where Bernstein and Robbins get most of the glory--Laurents showed him though by cutting to ribons the dream ballet when he directed it :P ) but the irony is a lot of musical theatre common wisdom DOES credit Laurents with writing the best book for a traditional (R&H style) musical with Gypsy... But you wouldn't realize that from his rants in his book (which IS an entertaining read...)
From your review I think Rose makes changes over the years. As a black woman she is trying to break into professional show business (the white dominated spaces) and to do that she has to make her show “acceptable”. This is why she also needs Herby, a white man, to get her in the door at this time period. Also didn’t Patti and the recent uk production have a car?
I think you're 100% correct. I got confused by the kids' races switching when they grew up, but now I think Rose was actually replacing them with white performers as they became more successful. The Patti Lupone production was director by Arthur Laurents which has her walking around the stage snatching boys from various places. I recall a moment where a Boy Scout troop marches across the stage and she snatches the last one when he shows that he can sing. The UK production may have used a car. I found it interesting that in this production she gets two boys with a sign that reads "Dance for food" and the other she gets from an orphanage. I think the director wanted to make it seem that Rose was helping these poor children and not kidnapping them.
The transition with Rose in the flat car and picking up boys with signs has been in every Broadway production since the original. It’s Robbins’ staging.
I watched the show on its third night of previews, and I didn't like it. Great acting all round but the production felt dated. And I was really hoping that Audra would belt out those famous songs.
I actually saw the 2nd preview and then went back for the first press preview. The show improved over the two weeks. They toned down some of the dancing so the dancers were more believable in their characters and some of the Louise scenes got better. But I don't think those changes would change your reaction to the production feeling dated. and Audra certainly didn't learn to belt over the two weeks. lol I enjoy it as a period piece.
The characters in Gypsy were real people who were not black. It’s a story based on a life, it doesn’t matter the color you are. But, I hear there is under current of racism brought to the show, is that true? Color blind casting is good, but would a production of A Raisin in the Sun with a white cast be accepted?
@brainbryan I feel that the creative team for this production is subtly addressing issues of racism in show business. I didn’t realize this until I started having conversations with people on this feed, but the play begins with Rose presenting her girls at Uncle Jocko’s Kiddie Show, which appears to consist entirely of Black performers. As the play progresses, Rose changes her Vaudeville act to appear more white as they become more successful. She puts her lighter-skinned daughter, June, front and center, while eventually hiding her darker-skinned daughter, Louise, in a cow costume. She starts with black backup dancers and later replaces them with white dancers. She even seduces Herbie, a white man, to act as her agent. It’s a fascinating take that I didn’t fully grasp until afterward.
@@MatthewHardyMusical it’s very subtle, critical race theory-ish. I saw and worked on Carousel with Audra and it was colorblind casting which worked perfectly, yet all her covers were black. It’s hard to say why, but I do know technically you light a black person very differently then a white person onstage and sometimes there are other factors, like money costs to re light the show, involved why people are cast that have nothing to do with best choice, black or white
That's really interesting. I didn't see the Carousel revival at Lincoln Center but from the reviews I read I was lead to believe that Audra's casting was non-traditional as opposed to color blind. How did they cast Mister Snow and their children?
I was at the opening night preview (huge Audra fan) and your review is SPOT ON and in some ways you're being a little too kind. I also saw the Patti Lupone revival in 2008 and it was one of the greatest shows I've ever seen. The direction, stage/costume design, CASTING were all brilliant and then add Patti giving the performance of a lifetime and you have one of the great Brosdway moments. Unfortunately this revival is not even in the same universe. I feel like George C. Wolf and Camille Brown were both just phoning jt in . The staging and choregraphy lacked any imagination. I had the EXACT same reaction to the colorblind vs. nontraditional casting choices you mentioned. And like other commentors I thought Wolfe was trying yo make some commentary on what Rose would have to do to succeed on the circuit which is also why June was biracial (and passing?) and in the scene with Mr. Grandzinger's secretary, Rose emphasizes that SHE is June's mother. I guess all of this could have been powerful, but without any additins to libretto, it all falls flat. I thought both Louise and June were not great actreesses or performers. They both read as too young and the June overacted most of the "If mama was married" scene. It seemed like she had received no real direction. The younger June was EXCELLENT! The Louise was pretty forgettable, even after the transformation. As a black person, I was hoping the whole cast would be black or atleast POC so i was really sad they chose to make Tulsa (forgettable), the rest of the boys, and the strippers (a highlight, as they should be!) all white. You hit the nail on the head with Audra. She acted THE HELL out of the role and could stand next to Patti, Lansbury, Tyne, Bernadette , or the great Merman any day. But her performance was severely disminissed by her voice's inabilty to meet any of the big vocal moments on their terms. You named them perfectly. When she sang "Goodbye to blueberry pie" like "When I marry Mr. Snow", i knew her Madame Rose was going to be earthbound and incapable of really reachimg the next level. And we saw that in every big number: a big buildup with a disappointing finish. It's too bad she didnt go to a voice teacher to learn how to belt those 7 or 8 notes. She should not win a Tony for this performance. I saw Nicole Scherzinger in Sunset Boulevard the next day and she is giving a performance of a lifetime just like Patti Lupone did in Gypsy 16 years ago. Audra is not on that level in this role, very sorry to say. 😢
@thrillingopera8125 Thank you for this insightful comment! I agree with most of what you wrote. That said, I did enjoy Jordan as June-despite the overacting. I took it as June being a bit of a dramatic diva. I also wouldn’t suggest that any of the creatives were “phoning it in” (them’s fighting words!). I believe the creatives were focusing on what it would be like for a Black woman existing in this world. After all, it’s a musical fable, so we can suspend disbelief and pretend that Rose could have achieved as much success as she did-even though, realistically, there’s NO WAY a woman of color could have gotten away with this during that time period. She would have been killed! However, you’re correct that the text doesn’t fully support this approach, which explains the confusion I had about the casting. As for Tony picks, I’m going to withhold mine for a few months until I see which way the winds are blowing. And yes, I always try to err on the side of being nice. Everyone is working hard, and theater ain’t easy!
@jenniferlapidus2229 100%!! Patti IS Madame Rose. They are a very similar personalities so the role was perfect for her. And Laura Benanti! I think the best Louise I've seen.
LOL I was afraid that might be confusing. Songs are generally divided into 8 bar sections, So an AABA song means one 8 bar "A'" melody is repeated twice then a different 8 bar "B" melody gives us a break before coming back to a final "A" melody. Let's look at Small World from Gypsy - A1 Funny, you're a stranger who's come here, Come from another town. Funny, I'm a stranger myself here. Small world, isn't it? A2 Funny, you're a man who goes traveling Rather than settling down. Funny, 'cause I'd love to go traveling. Small world, isn't it? B (new melody) We have so much in common, It's a phenomenon. We could pool our resources By joining forces from now on. A3 (with a tag to finish) Lucky, you're a man who likes children. That's an important sign. Lucky, I'm a woman with children. Small world, isn't it? Funny, isn't it small and funny and fine?
@ Thank you for the explanation.. I'd have to read it several times to get it.. Love your videos..🥰.. I saw Patti in it, but my favorite is Bette’s.. It's on my local channel all the time…Barbra talked about having an opportunity, but Sondheim kept putting her off.. Would have been an interesting take..👌🏾… I love Patti so much in general.. I saw her and Mandy in Evita 4 times..when Broadway was affordable..🤭
I will pass on this one. I think it's miscast. Loved Angela and Tyne and Betty Buckley. Did not like Bernadette or Imelda. Wish Liza could of played Rose on Broadway, such a loss. Maybe a version with Lady Gaga is coming ?
@NFNJP Vocally not the ideal casting but I will see anything that Audra is in because I love watching great actors on stage even if they are not perfect for the role. I really wonder what Audra would sound like if she chose to sing the songs in the lower keys and just stay in her chest voice. It's not like Angela Lansbury has a big belt. In fact, of all the broadway Roses, she sang Rose's turn in the lowest key and Audra sang it in the highest - half an octave higher than Angela! I'm posting a tangent talk video about this on Thursday.
I really didn't like this new version of the kids "growing up" and especially found it weird that ALL of the little Black children turned White when they grew up.... Choices....
I've come to the realization that only June and Louise were growing up and Mama Rose was replacing the black kids with new white performers. I think that's why they had her take the prop from the kid and hand it to the adult. I'm just so used to the orgiginal staging where ALL the kids grew up. After all they are named after the cities where Mama Rose found them on their journey to Los Angeles. Otherwise they would all be named L.A.!
Yes. Seems like a Dreamgirls Cadillac Car moment with white singers taking over the song at the end of the number. Enjoyed your review. I saw Tyne and Bernadette. Both great in their unique way.
How could I? But if I opened that can of worms the video would have been an hour long! I was just thinking today how Sondheim purposely mis-stressed "decade" to show that the lyrics were written by Mama Rose. But then he couldn't help himself and wrote "She has a man cow, A tan cow, Who can cow her with a glance." Which is definitely a Sondheim lyric and NOT a mama rose lyric. Still...gotta LOVE.
Dear Sir, First time viewer, first time commenter, obviously, seeking UA-cam reviews on Audra’s Gypsy, hence I find you. One wonders which performance of Gypsy you attended, upon which you based your remarks. When I stumbled across your clip, it was marked 20 hours ago … and here I am, Monday, December 16, late in the evening, seized by one particular reference that you make. In your sector labeled “Thoughts on Louise’s journey,” you lament that the crowd work GRL extemporizes eventually spots a gentlemen seated in the mezzanine, whom she points out for his baldness … dismaying you, it seems, because said bald man was not seated below in the orchestra. If one may be so bold as to inquire: Were you, perchance, in attendance at the Saturday matinee December 14th? If you were, I am, in all honesty, in all sincerity, in all integrity, the bald man she was addressing. My seat was front row mezzanine on the aisle to the left - my bald dome, freshly shaved, gleaming brilliantly for her to notice as she scanned the front row above, finally setting sights on me. Looking, directly, at me. I have witnesses. Since then - me being me - I have made much too much of it, but let’s face it, when does a fellow from Philadelphia well into his sixties get singled out in the course of a Broadway show? Self-centeredness aside, I invite you to think - much as the orchestra may have missed, can you allow that the mezzanine delighted in the attention, albeit from a tired old man from Philadelphia? It was thrilling, startling, so fleeting as not to be believed, yet here I am, defending the lived experience of what you may think a misfire. Just saying. Apart from that, I agree in earnest with every point raised in your review (even were I to be so blunt as to suggest Audra is, fundamentally, not right for the part). And oh, please, hear me on this: In a show that traffics in naughtiness, I find nothing naughtier than (in past viewings) the moment GRL professes she had been “learning” French/Greek … which took me a number of years to understand, and when I did I was shocked, SHOCKED. Very much disappointed that this line was edited out of the current version. I wonder why. Please know that I could not have enjoyed your review more, however wounded I may have felt at being the bald man who drew attention away from the orchestra. My sincerest, best wishes to you for the season. Brian Fauth Phildelphia
@brianfauth143 Hey Brian! I WAS at the Saturday Matinee! LOL Small world isn't it? :-) You must have a very bright shiny head to catch Joy's eye from so far away. I love that you had that interactive moment in the theater! I think my comment was more about Joy lacking the "stand up comic" energy that allows us to see GRL coming into her own as a performer. If she chooses someone in the Orchestra then everyone in the theater can see who she is talking to and it becomes funnier. So next time you see Gysy sit down front in the orchestra! :-) In the Patti Lupone revival, Laura Benanti was so great in this scene, but if you've seen Laura in any of her solo shows you know that she is terrific at stand up. I thought the French and Greek lines were in there. She speaks French when she comes out and then says she's also been studying greek and that's how she learned the word "ecdysiast". I don't believe they changed any of the Arthur Laurents script.
I saw this production recently and I thought Audras vocal performance in the dramatic numbers was thrilling. There was a dangerous edge to her vocal placement that had me gripping my seat in fear she might crack or damage her voice but in the best way possible to convey her emotions. I think the production missed opportunities to say and do more with the race elements. It felt like a white staging with black actors.
Interesting! Like I mentioned in my review it's dangerous to stray too far when you're working with a classic like Gypsy that has always been done one way. I think the Director and Choreographer were being careful to not go too far afield. I would have loved to see an all black production. I really want to see eh strippers played by women of color! I'd be really curious to hear Audra sing those songs in the lower keys and not use her head voice at all.
Prefer Audra as an actor much more than a singer. I do not like her voice at all, unless it's a classical piece. From what I've heard of this production, she was miscast.
I cut this from my review but I really liked Danny Burstein as Herbie and Jordan Tyson as June. And the 3 strippers are great! But it's really difficult to compare Sunset to Gypsy because they're such different interpretations. I think that Sunset will win the best revival Tony over Gypsy because it's doing something more daring. The question is who will win best actress in a musical?
Being a director, having been in GYPSY (Yonkers) under the direction of Richard Sabellico (Yonkers in Lansbury cast/producer Daly), I have high standards for the show and you hit on all the key points that would have been focusing on. The one that hit me the hardest was the choreography. I'm sorry but A CHORUS LINE isn't A CHORUS LINE without Bennett's choreography just as HAIRSPRAY wouldn't be HAIRSPRAY without Tracy's signature wig just as Dolly wouldn't be Dolly coming down the steps of the Harmonia Gardens in anything but a red (sorry Barbra). Somethings ya' just don't mess with. Second, when I saw the final bows, here on UA-cam, I thought, 'Okay, so they're approaching this as a black troupe also having to deal with racism being in the vaudeville circuits. Clever and cool and easy to work ... although I was having difficulty dealing with this being a "fable" based on actual historical people. But, like you say, it sounds like they made it confusing. And, yes, I had concerns over the belter-vs-lyrical voice. I've seen EVITA too many times in which Eva wasn't portrayed by a belter. It just doesn't work for me. All of these things would turn me off about the show but ... who can resist Audra? I doubt I'll get the opportunity to see this production (I could travel to Paris on what it costs to see a two/three hour B'way show, any more) but, forced to choose, I wouldn't hesitate to go see this to see Audra. Thanks for the post.
Love Richard Sabellico! I used to take his song study class back in the day. I'm not sure I agree with you regarding the choreography. For heavy dance shows like West Side Story, A Chorus Line, Chicago, Cats etc. the dance really becomes part of the show in a similar way the music and lyrics do. BUT Gypsy isn't' a dance heavy show, so I think there is more room for reinterpretation of the dance sequences. I only missed the Robbins choreography/direction when what was on stage was lacking. I REALLY missed Louise taking off her clothes and then using the curtain as a cover up as she walks across the stage. It's an iconic moment that you have to come up with something really spectacular to make us forget about it.
@@MatthewHardyMusical True! That's another restriction I have in regard to directing the show (and 42ND STREET, for that matter). It would HAVE to have that stage curtain so few newer theaters afford. As for Gypsy choreography, I have a lot of respect for you and am happy to agree to disagree. It's just one of my own personal little quirks. Perhaps I just like to see how much I remember Robbins' choreography. Funny, I can seldom remember the lines I had in shows like GYPSY and A CHORUS LINE but I can always remember the choreography. I was working a gate at DFW Airport in the mid-to-late 90s and when I was looking at the list of passengers yet to board, I saw that Richard had arrived on a late inbound flight. I anxiously awaited his arrival but, because he was in a hurry, regretted that we only had a few moments to catch up. He was quite flustered, as late passengers tend to be, but it was good to see him. I doubt he'd even remember me, these days.
I haven't seen him for ages either. I don't know what he's been up to. He's a character. :-) Thanks for the comments and for watching my little videos! And now a 5-6-7-8!
Would the director have turned away dancers of Mexican origin or East Asians if they auditioned? Can casting directors and agents legally say we're only casting blacks right now. No White or Asian Mid-Easterners or White or Taino Puerto Ricans need submit an audition application? I'm sure they do just not as clearly and unambiguously
@@keouine As far as casting minorities its not that big of a deal, what qualifies as a minority gets kind of strange, as there was the "one drop" rule for segregation and black people, and you will find that people with still very little black blood grew up in black culture and would be more likely to identify as black, not sure how Hispanic/Latin culture words, because it include black and white, like Marco Rubio is definitely white. The government doesn't include half Asians as anything, this includes the continent of Asia minus Slavs like Russia, Ukraine, etc. I do get really confused because its fine if Tilda Swinton takes an Asian male role, so including 2nd wave feminism works somehow too? I don't know, its all really arbitrary tbh.
@@keouine I guess I should add something else, Nicholas Christopher and his brother Jonathan are Bermudan, I am fairly sure they qualify as black, and Nicholas is quite the up and coming playing Pirelli, Sweeney, Jelly, and Seymour in Little Shop, I am fairly sure he is the first in some of those, but I have never heard him billed as "first black Seymour". I would consider the cast for Sweeney color blind, Jordan Fisher was Anthony, Joanna a white Latina, beggar woman E Asian, Nicholas Pirelli/Sweeney alt.
@Gee-xb7rt I did come to the realization after I recorded this video that I think the intention of the creative team was to do non-traditional and not color blind. I misunderstood the black children turning into white adults as being color bind, but I think the idea is that Mama Rose replaced them to appeal to a white audience as they became more successful.
@keouine It has been brought to my attention that Lili Thomas who plays Mazeppa is Asian. BUT to answer your question, yes casting is one of the places where you can deny people work based on their race, gender, age and disability. No one would be turned away from an open call. But they might "type" actors out which is really the same thing. Casting calls aren't so explicit but actors and agents know how to read between the lines so that they don't waste their time submitting talent who the creative team is uninterested in casting. This idea that you can only play what you are or write from a lived experience has gotten a little ridiculous but I hope it calms down as there becomes more representation for minorities and everything levels out.
I go to see the sets. I want them to fly and slide.....that's the magic of Broadway. I killed two birds with one stone Thurs night.....Audra and Danny. I can get past all that . They are playing characters. My one fault....the strip....too quick and not spectacular enoungh. It was rushed. Audra, like Tyne acted the hell out of the part, so it made up for it!
Thanks for the comment. I liked the sets that weren't part of the Vaudeville act. Especially loved Gransinger's office with the wood and Tiffany inspired glass. I agree. I wanted a lot more from the strip. This is Louise's big moment, let her have it!
I watched the show on its third night of previews, and I didn't like it. Great acting all round but the production felt dated. And I was really hoping that Audra would belt out those famous songs.
Color blind or nontraditional? Seems overthinking. Is the story about race? If not, trying to decide whether it’s colorblind or nontraditional seems to be a diversion that’s irrelevant and racist.
Overthinking is my brand! I think this production was trying to make it about race, hence all the comments regarding the casting. Thanks for the comment!
I hate colorblind casting. I want to escape into a show and not start thinking about race. Let's cast people that match the character descriptions please. If you want a character to be black, fine, but let's not have them change in the middle to a different race, or have them play George Washington. i don't want a white Mohammad Ali. I shouldn't have to think about it during a play.
After recording the review I have come to the realization that the intention may have been non traditional casting and that Mama Rose replaced the black chorus boys with white boys as the act became more successful. But I missed that when watching the show. Others have said they understood that was what was going on. Honestly I would have been fine if they just cast everyone as black like they did with Pearl Bailey in Hello Dolly. Then we don't have to think about how the racism of the time would be affecting the narrative. Thanks for the comment!
Well, historically white actors have been portraying Black, Latino, and Asian actors for decades. So, let's not get too precious on this casting. The hypocrisy from your people is unreal.
True! But June and Louise refer to her as Mama. In my review I refer to her twice as Madame Rose and as Mama Rose 9 times. But I have a very close relationship with her. Please forgive.
I saw Gypsy in early previews. I was bored. It was too long. Act 1 dragged. Is Gypsy always almost 3 hours long? Have not seen a stage production before. I didn’t like Audra’s voice for this role. I had high expectations for this production and was underwhelmed. Would not see this production once open. Yes, she’s Audra, but she’s not right for every role. No question Audra is talented, but it’s not her best role. I enjoyed Danny Burstein and Joy Woods.
Good question. Looking at bootlegs from previous productions the show can run between 2 hours and 30 minutes and 2 hours and 50 minutes But the Broadway productions tend to be on the longer side. Gypsy is an older show so with the Overture, the Entr'acte and a curtain call for 30+ actors they tend to run long. In this production I thought the first act could be tightened up but for me Act 2 really moves - with the exception of when the Toreadorables arrive at the Burlesque stage door. That scene transition took forever! But once we hit burlesque the show flies. Thanks for sharing your thoughts!
@giggles7179 I thought they were all great! Mazeppa actually plays the trumpet quite well. Tessie has clearly had some classical dance training. And I think Electra was drunk. :-)
I saw the production last weekend and I loved it. I also share a lot of your observations. Loved this review.
I am glad you enjoyed it!
Though Arthur Laurents may have agreed with the notion of recreating Jerome Robbins' choreography, I disagree that he really wanted to replicate the direction. Laurents was the first director to have Rose finish ROSE'S TURN by bowing to acknowledge the audience's very enthusiastic applause... and then after the applause finishes, Rose (as Lansbury played her) CONTINUED BOWING! She was bowing to an audience that was entirely in her mind. It was the most extraordinary moment I've ever experienced in the theater. The audience gasped when they realized what was happening. That was all and only Laurents... and utterly brilliant.
Thanks! You're right. I was trying to make the point that Jerome Robbins and Arthur Laurents had a similar understanding of the piece as opposed to someone like Sam Mendes or George C Wolfe.
The color blind casting confused me too during the transition. Also, I didn't really care for Audra's use of her head voice. It's not how I picture Mama Rose singing.
I am a HUGE STAN of Miss McDonald. I felt her switching to head voice in the middle of phrases was distracting. That being said, it was still AUDRA, and I feel horrible for even saying that. I will still love and support everything she does!
@@jonathanrio6587 I totally agree. Despite that distraction, she was still as incredible as she always is. She received a standing O after Rose's Turn. First time I've ever seen that happen during a Broadway show. It brought tears to my eyes because she deserved it.
@jonathanrio6587 LOL I feel your pain. It's Audra! How can we say anything negative? But the question is - "Do I want to see Audra play Rose or not?" And the answer is I want to see Audra do anything and everything she wants! More Audra please!
@Darrick.DamitaJoBoy The realization I had while editing my video is that Rose was changing out the boys. She was casting new white boys in the act as it became more successful. I didn't get it during the show but now I understand!
As much as I worship her talent, not sure if Audra’s voice is suited for this earthy, scrappy character. I’m still going to see this new incarnation, but for me I still think Lansbury is hard to beat.
Correction - the hilarious Lili Thomas, who plays Mazeppa, is Asian-American. She was also the first Asian-American to play the role of Mama Morton in Chicago on Broadway.
What still amazes me is she actually played the trumpet!!!
@user-gl8ee4ib5m Thank you! I didn't know! Does she also play the waitress in the Chinese restaurant?
@josephlim6854 And she played it well! I was impressed too!
Correction: Jerome Robbins choreographed On the Town and The King and I, but those shows were directed respectively by George Abbott and John van Druten. Thank you.
Thanks for the correction! I meant he directed west side story and the other two were credits, but when I edited it I saw that it sounded like I was saying he directed all three.
@@MatthewHardyMusical Given his role as director/choreographer for two of the greatest musicals ever written, West Side Story and Gypsy, and the fact that there was a successful retrospective show "Jerome Robbins' Broadway," I imagine many people assume he always did double duty. In the case of On the Town in particular, it's good to remember that Abbott's immense theatrical savvy -- including getting Bernstein, Comden & Green to write "Some Other Time" -- was crucial to getting the show into its final form.
@treesny thanks for the insights!
First, as a black performer / I have always called for an all black and color conscious cast of Gypsy. The vaudeville era had so many black stars of their own and time that would’ve suited this story perfectly.
When I saw the casting of Herbie, I knew that it wouldn’t be as “risky” and make a statement with an all black cast - like they have with Hello Dolly with Pearl Bailey. I’m sure they did this to be more “mainstream” 🤨
All of Your points about casting and race makes total sense
Thanks for sharing your perspective. I did come to the realization after I recorded this video that I think the intention of the creative team was to do non-traditional and not color blind. I misunderstood the black children turning into white adults as being color bind, but I think the idea is that Mama Rose replaced them to appeal to a white audience as they became more successful. I think it is a valid choice, but I'd still LOVE to see an all black production of Gypsy with some new orchestrations that really lean into the sounds of black America during that time period.
@@MatthewHardyMusical you and I both. but we both know exactly why that won't happen...sadly
Yes...keep it going! Let's have Latina Mama Rose next as music and dance is so inherent to our culture and we are always left behind in the story of this country. 🥰
@Thisismyusername227 I don't know! I think this could have been an opportunity to do it. Although the new orchestrations might be difficult to get approved by the estate of whoever makes those decisions. Although they did manage to get approval from the Robbins estate for new choreography.
@officialmichaelcarrasco Who is in your dream latin cast?
I forgot to say how I got my ticket! Telecharge has $70 lottery tix. There is a $49 general rush. And $39 standing room for sold out performances. I was able to pull some strings and see the show from standing room at the back of the orchestra which was perfectly fine.
Well, you didn't seem bored but you were, at times, confused. Am I summing it up? I became confused when you were discussing Louise and the "Big Strip" sequence but I think I know what you were trying to say. As much as I would love to come to NY and see this, I won't be able too....thanks for your review!
Yes! You are correct. I usually do a little sum up at the end but I missed it on this one. What was confusing about my big strip comment? Happy to clarify!
5:49--Jerome Robbins understood the assignment.
Yup!
I absolutely loved this production and think she might win her seventh Tony.
I think it will depend on what Nicole Scherzinger posts on social media over the next 4 months. lol Thanks for the comment!
Very thoughtful review...
Thanks for watching!
Good review- Laurents was very protective of Gypsy I wonder what he would think of this production
Good question! What did he think of Sam Mendes production? I don't know if he'd be open to exploring the racial dynamic of Rose being a woman of color or not. Thanks for watching!
Here’s my story about colorblind casting. I saw a revival of Carousel a few years ago and the actor playing Billy was black. My husband went in blind and at Intermission said everyone in town hates Billy BECAUSE he’s black. And I had to explain, no they hate him because he’s a bum who beats his wife. But it occurred to me that sometimes colorblind casting doesnt work.
Your husband's reaction is very telling! Are you referring to the 2018 Broadway revival of Carousel? I remember thinking that the show's approach to domestic violence was very problematic for modern audiences and not helped by the color blind casting. Interesting that the 1994 revival of carousel used non-traditional casting by having Audra McDonald play Carrie. That casting choice was very well received. I also have to clarify that after I recorded this review I decided that this production of Gypsy is indeed non-traditional and not color blind. It think we're meant to see Rose's race as another obstacle she has to overcome.
Great review! Thank you
Sure thing! Thanks for saying!
Love Angela Lansbury!
Who doesn't! She's a treasure! Did you see her play Rose?
@ Unfortunately, no. But I memorized Angela’s cast album. In college, I played Tessie Tura and understudied Rose. Great memories. That was in 1974!
@@MatthewHardyMusical Yes, a treasure. Midler too. But their Roses weren't belters, which was especially surprising with Midler. She has a huge stage presence but lacks those "take no prisoners" top notes we associate with Merman and Lupone. Once having heard them, I can't help but miss them. But what a crop of great interpreters of a great role.
The best! Her performance is legendary!
@@susanmarie2231 my parents brought the cast album after seeing the show and for me that is the one I memorized and hear in my head and I think the very best!
I really enjoyed your review and thoughts. I haven’t seen the production but I’m a Broadway Veteran, a scholar in Black Performance Studies and History… and one thought I believe is Mr Wolfe would have been going for in not changing the script was that Black Mama Rose knew that lighter skinned daughter could pass for white. A Black Mama Rose would so do something like that… make them “appear white”. Again George Wolfe stated emphatically, Audra as well was sayIng that they would not be changing a word of Arthur Laurent’s book. So without seeing the production (I live in SF) but after seeing a still of June or Louise in “White Face”? perhaps that’s what was happening… just saying.
@MADHAUSMARKALLAN OMG! I think you are right! I completely missed that aspect of the casting of June as a lighter skinned black woman. And I didn't realize she was wearing lighter make up, but now that you mention it, I do remember thinking that Jordan looked a lot paler on stage! And then she puts Louise in a cow costume so we can't see her skin color and casts white chorus boys!! And then she gets Herbie, a white man, to act as her agent! Rose was white washing the act! This is all coming together for me now. Thanks for sharing your insight!
I saw the 5th preview and I agree with EVERYTHING you've said. COMPLETELY. EVERYTHING. I had the same thoughts and shared with others exactly as you shared here. Why? Because as you said, the piece works as it is. It's perfect. I feel they went into it to make changes and didn't take in that the changes would diminish the piece. And everything you said about Audra's INCREDIBLE voice is also true - she didn't sing the 5 or 6 'money notes' in her belt, when what was needed WAS the belt. The songs were written for those specific notes to be belted. Using her head or mixed voice could have been okay IF the power was still
there but it wasn't. Choosing the head/mixed on other notes that are usually belted was fine (I guess) but those 5-6 'money notes' needed to be belted should be belted, in any production. They are the exclamation marks (!) of Rose's thoughts and emotions. Whether joyful, raging, or crazy. No if, ands, or buts. The guts and fierceness of Rose was turned down a few notches at the precise moment when the end of some songs needed an exclamation mark not an immediate flip into head voice and a soft sound of pretty and calm. The experience for the audience turned the singing into a fine bus & truck. Each of those 5 or 6 times the songs never got the final 'pay off'. Having said that, Audra's singing is beautiful throughout and her acting (especially in Rose's Turn) is SPECTACULAR!
Thanks for the comment and for agreeing with me! :-) After posting my review I often watch it again and disagree with myself! I think they raised the keys for most of the songs to put them in a soprano register. I am REALLY curious what they would have sounded like if Audra had just sung them in the original keys and not used her head voice at all. For a lyric soprano she actually has some really good low notes so I think she could have handled it. But what do I know? I'm sure she played around with each song to find the key that would work best. Still I wonder....
That's very interesting. I didn't realize that the songs had been raised. Like you I missed the growth of the strip sequences. There wasn't much to each one and then suddenly in the Garden of Eden they gave us Josephine Baker dancing up a storm! Impressive dancing for sure but not Gypsy Rose Lee. It's as if they knew the actress could dance so they gave her a big dance number. They also lengthened Tulsa's dance break but that didn't bother me too much nor did having a Mazeppa who could play the trumpet quite well and a lot. Things like that got an ok from me but the belted money notes were a loss unfortunately. The performer I really enjoyed (which surprised me) was Dainty June (the grownup). Now she had the makings of Madame Rose. She was barreling through the production throughout. She had the grit, anger, and belt that was like a Madame Rose. As I later shared with friends, it was as if the director rehearsed the show as a straight play. The acting scenes were all first rate and believable. It felt like had been given a lot of investigative rehearsal time. And then just before previews they inserted the songs and choreography which had all been rehearsed separately for weeks in another studio. The one thing that I also really agree with you on but didn't notice when I saw the show was when the four young black boys became four white teenagers. You are so right about that, too. One or two of those teens needed to be black. And the three strippers could have one black woman. In fact, I think an all-black production (like Pearl Bailey's Hello Dolly) would have been quite effective and permissible on Bway these days. In the end and as you said, the production was a way to see Audra in all her talented glory. She's a great talent for sure. @@MatthewHardyMusical
I didn't realize Tulsa's dance break had been lengthened. Now that you mention it did feel long and it got some applause half way through which made it seem like it ended twice. Loved Mazeppa's trumpeting! I really enjoyed Jordan's performance as June too. They also did a good job of casting a baby June that looked like she could believably grow up to June as an adult. When I edited the review I added a thought bubble that said "Maybe Rose fired the black dancers and replaced them." and then after posting the video I realized that was exactly what happened. Mama Rose is white washing the act for white audiences as they become more successful. So the boys weren't growing up, they were being replaced! This is why the strippers were white (and asian but I couldn't tell from my seat). I think they were showing that Louise stood out because she's black. Maybe that was her gimmick?
The original choreography was pretty much perfect. The trenches were more effective to show the children and act aging, but I didn’t hate the new choreography there.
It's been brought to my attention that they may have involved mama Rose in that transition because they were trying to show that she was replacing the black dancers with white dancers as her daughters were growing up. It makes sense in retrospect but I was confused in the moment. I also thought those Presidential costumes were a bit outside of Mama Rose's budget. She would have probably just dressed them as sailors or other military uniforms that would have been readily available to her.
Do you think Audra will win the Tony with this performance?
Depends what Nicole Scherzinger posts on her social media over the next 4 months! :-O Of the past 5 Madame Roses on Broadway 3 have won the Tony for best Actress. So those odds are good. I'm not sure if the fact that a she already has 6 Tonys will work for her or against her. At this point I would choose Audra over Nicole because I value truthful acting over meta theatrics. But the Tony awards are ultimately a marketing tool so we will have to see how things develop over the next 4 months! What do you think?
I saw the show last week. I totally agree, with you on everything. Audra, is wonderful. I hated the striptease segment, with Gypsy. Boring, no tease whatsoever. Really was quite disappointed with that. Not too much applause. Guess, that says a lot about it. Aside, from that. It is good show.
Thanks! I actually came home after the show and watched the strip segment from the Bette Midler made for TV movie to remind myself that the segment can actually be quite effective.
Is that why there is that insane song about the "Moo cow, a true cow named Caroline"? Because Mama Rose created it? Wow, I NEVER clocked that before. Thanks for the wonderful insight!
Even experienced Tin Pan Alley songwriters wrote novelty, corny songs for mass consumption. Child singers were also a much bigger thing than before 50s. Idk Have there been any solo pop music child stars in the last 60 years? Michael Jackson? maybe. His brothers may have something to say about that.
@keouine I don't know if it relates, but a lot of famous pop singers and actors started out as child actors in the new Mickey Mouse Club - Britney Spears, Christine Aguilera, Justin Timberlake, Ryan Gosling, JC Chasez, Keri Russell. Some singers also got their start on Star Search which was a kind of vaudeville of the 1980s.
@christophercobb249 You're welcome! That is exactly why those songs are so hokey. Although Stephen Sondheim couldn't help himself when he wrote "She knows a man cow, a tan cow, who can cow her with a glance." Her withers may not be withering with her but that lyric screams Sondheim. He also purposely mis-stressed the word "decade" to show that it was written by someone who wasn't a great lyricist.
Excellent review.
Won't be able to see this show but I so appreciate your review.
@eaglerockers Thanks! Not sure if the issue is location or lack of funds. But there re $39 standing room on sold out performances.
Is considered one of the hardest shows to be in because the actress who plays mama is in almost entire show
Right? It's basically a one woman show with a HUGE cast. I was thinking the girls who play the Toreadorables have NOTHING to do for the whole first act!
@@MatthewHardyMusical yes the movie paints mama rose as a villain but if you think about she wants the best for her kids. I would love to see a play based on mama roses youth
A Madame Rose origin story! I went down a rabbit hole after recording this review. It seems that there are a lot of discrepancies between June and Louise's accounts of their mother. They both seem to be unreliable sources.
@ their is a new book about by a man who did so much homework on rose
Please explain the difference between "head voice" and "chest voice." Thank You.
@BroadwayGuy Sure! Chest voice is darker, rougher, and provides the power in one's singing voice. Head voice is lighter and only useful by itself at or near the top of one's range. (I stole that from Quora.) For a male singer the head voice is often called falsetto. I sing in chest and falsetto (head voice) here - ua-cam.com/video/J_E7tkVO1NY/v-deo.htmlsi=01jLv1rdyYDszi3Y&t=718 Now, I'm nowhere near as good a vocalist as Audra so the difference between my head and chest voice is VERY noticeable. Audra is much better at navigating between the two than I am.
The children do not grow up in that sequence, the act grows up and the kids have been replaced by older performers.
Well, I don't think Madame Rose replaced her daughters. But yes, in this production the only explanation is that Louise and June grow up and the boys are replaced to make the show whiter. I don't think the act ever grows up. That's the problem! Thanks for the comment!
Honestly, during the transition I took it as that at some point over the years, Rose replaced the young black kids in the act with white kids, aside from June and Louise of course. I didn't see it as those being the same kids grown up.
I agree- this is how I took it too
You're probably right. It didn't occur to me till I was editing the video that may have been the case. So do you think it is nontraditional casting and the idea is that Mama Rose wanted white dancers to make her act more appealing to a white audience? Or that she started in a black community and then branched out into the whiter world of show business? That would explain why the strippers are all white.
I love your pov!
Thank you!
Matthew,
“Gypsy” is my favorite musical as well.
I have not seen this production, but I can not help but think your observations are spot on.
The terms “ non traditional “ and “ color blind” are relatively new terms for me.
Would “Hamilton” be “ non traditional “ or “ color blind” casting? just discovered your channel and have subscribed ❤️
Great question! I wouldn’t call Hamilton non-traditional because it’s a new musical, and there’s no established tradition. Ironically, if you performed Hamilton now with white actors, that would be considered non-traditional because the roles have traditionally been played by people of color.
Hamilton is color-blind in the sense that the characters don’t see each other based on race. However, it’s not 100% color-blind for the audience, as we’re viewing the story of the Founding Fathers through the lens of contemporary music and the struggles of people of color to find their place in this country.
While most of the characters can be played by actors of any ethnicity, casting them all as white would detract from the essential element that makes the piece so groundbreaking.
Color blind casting can work and even enhance a shows impact, in Hamilton just brilliant, but 20th century real life personalities like Gypsy Rose Lee and Madam Rose, the transition is more like “what?”
Ironically, casting Hamilton with white actors would be considered non-traditional casting. lol Just wait till they license it for schools!
The “Some People” transition with the car and signs is from the original.
You're correct! But I don't think they used an actual car as a set piece like they do in this revival. And the choreography for the sign dancers is different because it's not Jerome Robbins choreography. I quite liked what Camille A Brown did with the dancers in this section. Here's the Arthur Laurents direction with Patti it's more tongue in cheek as she kidnaps the boys. lol ua-cam.com/video/z6A9vR48Wnc/v-deo.htmlsi=76YwRAwR-psTB_kk
Arthur Laurents stated that he reconceived his staging for each of the actresses playing Rose, not creating the original.
100% correct. I was inarticulate. I was trying to say that the understanding of the show and its themes were more similar between Arthur and Jerome than someone like Sam Mendes. I'm sure he approached the staging fresh for each actor that stepped into the role.
I really appreciate the commentary about the creative team not allowing themselves to stylize elements of the show (you mention choreography and set design, specifically) within the confines of the material, but forcing in something that is impressive and showcasing of their ability. Another great example of this on Broadway in recent years is any show that recreates popular vocal groups as part of the show - think MJ, Motown, Ain’t Too Proud, Beautiful, Jersey Boys - where the choreography is so over-the-top and in authentic to how The Jackson Five or The Four Seasons would have performed. I appreciate artistic interpretation, but these types of things really take me out of the experience because of the startling removal of me as an audience member to see a Motown group or June & Her Newsboys doing triple pirouettes.
Amen! I agree 100%. I actually saw this production of Gypsy twice. I saw the second preview and the first press preview, and over the two weeks of previews they toned down the dance sequences. When I saw it on the second preview I thought "those untrained dancers who are getting paid in chow mein are too good!" Choreographing this show is kind of a thankless job because you don't have any opportunities to really show off. This is why a director/choreographer like Jerome Robbins is really ideal.
I appreciate your analysis. When I heard they were doing Gypsy with Audra, I thought great, finally an all-Black cast of this classic. I remember a long time ago they came out with an all-Black cast of Hello Dolly w Pearl Bailey and it was groundbreaking, and surprised they didnt do it w Gypsy ages ago. I think that setting it in the world of segregated black vaudeville/burlesque would have been amazing and could add a lot to the Mama Rose character and give the play a whole new depth.
Yes! I wish this would have been an all black cast. But it starts as all black and then becomes white as they become successful. I understand the choice to do it this way but I would have loved an all black cast!
Arthur Laurents would take such offence if you had told him he was essentially doing the Jerome Robbins direction in his revivals (read his book on directing--he thinks he completely re-worked it.)
It should be pointed out that while the Sam Mendes production said it used Jerome Robbins' choreography with 'additional choreography by Jerry Mitchell' but actually that was a credits thing and a lot of the choreography was new.
@EricMontreal22 You're right! I take it back. I was more trying to suggest that Jerome and Arthur's understanding of the text were very similar as compared to someone like Sam Mendes. Of course Arthur would change the staging and direction to suit the actor playing Rose. After all he's working with big stars who couldn't be put in cookie cutter direction. Thanks for calling me out! :-)
@@MatthewHardyMusical Right! From Laurents' On Directing he also seemed to think that Robbins was great at stage images and working with dancers but not with any dramatic acting (others of course would disagree here) so he claimed he properly put the focus back on this in his Gypsy productions (and his WSS revival which I strongly disliked but what do I know? ;) )
I could see that coming from Arthur as the book writer. Writers often struggle with directors not fully grasping their vision.
@@MatthewHardyMusical Yeah I think Laurents really struggled with his contribution being the least recognized--for West Side Story anyway (where Bernstein and Robbins get most of the glory--Laurents showed him though by cutting to ribons the dream ballet when he directed it :P ) but the irony is a lot of musical theatre common wisdom DOES credit Laurents with writing the best book for a traditional (R&H style) musical with Gypsy... But you wouldn't realize that from his rants in his book (which IS an entertaining read...)
You really know what you're talking about.
Thank you! I know a good bit of stuff having worked in the industry for a while, but there's plenty I don't know - but I'm good at faking it. :-)
From your review I think Rose makes changes over the years. As a black woman she is trying to break into professional show business (the white dominated spaces) and to do that she has to make her show “acceptable”. This is why she also needs Herby, a white man, to get her in the door at this time period. Also didn’t Patti and the recent uk production have a car?
I think you're 100% correct. I got confused by the kids' races switching when they grew up, but now I think Rose was actually replacing them with white performers as they became more successful. The Patti Lupone production was director by Arthur Laurents which has her walking around the stage snatching boys from various places. I recall a moment where a Boy Scout troop marches across the stage and she snatches the last one when he shows that he can sing. The UK production may have used a car. I found it interesting that in this production she gets two boys with a sign that reads "Dance for food" and the other she gets from an orphanage. I think the director wanted to make it seem that Rose was helping these poor children and not kidnapping them.
@ makes sense. Can’t wait to see it. And the newly renovated majestic
The transition with Rose in the flat car and picking up boys with signs has been in every Broadway production since the original. It’s Robbins’ staging.
@bernardjohnson5598 Make sure you go to the new mezzanine bathrooms! :-)
@ajnuh This car ain't flat. Madame Rose is behind the wheel driving like she's on Mister Toads Wild Ride.
Very good review honest
Thank you 🙂
I watched the show on its third night of previews, and I didn't like it. Great acting all round but the production felt dated. And I was really hoping that Audra would belt out those famous songs.
I actually saw the 2nd preview and then went back for the first press preview. The show improved over the two weeks. They toned down some of the dancing so the dancers were more believable in their characters and some of the Louise scenes got better. But I don't think those changes would change your reaction to the production feeling dated. and Audra certainly didn't learn to belt over the two weeks. lol I enjoy it as a period piece.
The characters in Gypsy were real people who were not black. It’s a story based on a life, it doesn’t matter the color you are. But, I hear there is under current of racism brought to the show, is that true? Color blind casting is good, but would a production of A Raisin in the Sun with a white cast be accepted?
No, it's not true.
@brainbryan I feel that the creative team for this production is subtly addressing issues of racism in show business. I didn’t realize this until I started having conversations with people on this feed, but the play begins with Rose presenting her girls at Uncle Jocko’s Kiddie Show, which appears to consist entirely of Black performers.
As the play progresses, Rose changes her Vaudeville act to appear more white as they become more successful. She puts her lighter-skinned daughter, June, front and center, while eventually hiding her darker-skinned daughter, Louise, in a cow costume. She starts with black backup dancers and later replaces them with white dancers. She even seduces Herbie, a white man, to act as her agent.
It’s a fascinating take that I didn’t fully grasp until afterward.
@AR36-45 welllllllllll....
@@MatthewHardyMusical it’s very subtle, critical race theory-ish. I saw and worked on Carousel with Audra and it was colorblind casting which worked perfectly, yet all her covers were black. It’s hard to say why, but I do know technically you light a black person very differently then a white person onstage and sometimes there are other factors, like money costs to re light the show, involved why people are cast that have nothing to do with best choice, black or white
That's really interesting. I didn't see the Carousel revival at Lincoln Center but from the reviews I read I was lead to believe that Audra's casting was non-traditional as opposed to color blind. How did they cast Mister Snow and their children?
I was at the opening night preview (huge Audra fan) and your review is SPOT ON and in some ways you're being a little too kind.
I also saw the Patti Lupone revival in 2008 and it was one of the greatest shows I've ever seen. The direction, stage/costume design, CASTING were all brilliant and then add Patti giving the performance of a lifetime and you have one of the great Brosdway moments.
Unfortunately this revival is not even in the same universe. I feel like George C. Wolf and Camille Brown were both just phoning jt in . The staging and choregraphy lacked any imagination.
I had the EXACT same reaction to the colorblind vs. nontraditional casting choices you mentioned. And like other commentors I thought Wolfe was trying yo make some commentary on what Rose would have to do to succeed on the circuit which is also why June was biracial (and passing?) and in the scene with Mr. Grandzinger's secretary, Rose emphasizes that SHE is June's mother. I guess all of this could have been powerful, but without any additins to libretto, it all falls flat.
I thought both Louise and June were not great actreesses or performers. They both read as too young and the June overacted most of the "If mama was married" scene. It seemed like she had received no real direction. The younger June was EXCELLENT! The Louise was pretty forgettable, even after the transformation.
As a black person, I was hoping the whole cast would be black or atleast POC so i was really sad they chose to make Tulsa (forgettable), the rest of the boys, and the strippers (a highlight, as they should be!) all white.
You hit the nail on the head with Audra. She acted THE HELL out of the role and could stand next to Patti, Lansbury, Tyne, Bernadette , or the great Merman any day. But her performance was severely disminissed by her voice's inabilty to meet any of the big vocal moments on their terms. You named them perfectly. When she sang "Goodbye to blueberry pie" like "When I marry Mr. Snow", i knew her Madame Rose was going to be earthbound and incapable of really reachimg the next level. And we saw that in every big number: a big buildup with a disappointing finish. It's too bad she didnt go to a voice teacher to learn how to belt those 7 or 8 notes.
She should not win a Tony for this performance. I saw Nicole Scherzinger in Sunset Boulevard the next day and she is giving a performance of a lifetime just like Patti Lupone did in Gypsy 16 years ago. Audra is not on that level in this role, very sorry to say. 😢
I saw Patti. She was born to play that role! Tyne was great too. I love Bernadette but I thought she was miscast.
@thrillingopera8125 Thank you for this insightful comment! I agree with most of what you wrote. That said, I did enjoy Jordan as June-despite the overacting. I took it as June being a bit of a dramatic diva. I also wouldn’t suggest that any of the creatives were “phoning it in” (them’s fighting words!). I believe the creatives were focusing on what it would be like for a Black woman existing in this world.
After all, it’s a musical fable, so we can suspend disbelief and pretend that Rose could have achieved as much success as she did-even though, realistically, there’s NO WAY a woman of color could have gotten away with this during that time period. She would have been killed! However, you’re correct that the text doesn’t fully support this approach, which explains the confusion I had about the casting.
As for Tony picks, I’m going to withhold mine for a few months until I see which way the winds are blowing. And yes, I always try to err on the side of being nice. Everyone is working hard, and theater ain’t easy!
@jenniferlapidus2229 100%!! Patti IS Madame Rose. They are a very similar personalities so the role was perfect for her. And Laura Benanti! I think the best Louise I've seen.
ABA?..BBA?..what you talkin bout Willis?
LOL I was afraid that might be confusing. Songs are generally divided into 8 bar sections, So an AABA song means one 8 bar "A'" melody is repeated twice then a different 8 bar "B" melody gives us a break before coming back to a final "A" melody. Let's look at Small World from Gypsy -
A1
Funny, you're a stranger who's come here,
Come from another town.
Funny, I'm a stranger myself here.
Small world, isn't it?
A2
Funny, you're a man who goes traveling
Rather than settling down.
Funny, 'cause I'd love to go traveling.
Small world, isn't it?
B (new melody)
We have so much in common,
It's a phenomenon.
We could pool our resources
By joining forces from now on.
A3 (with a tag to finish)
Lucky, you're a man who likes children.
That's an important sign.
Lucky, I'm a woman with children.
Small world, isn't it?
Funny, isn't it small and funny and fine?
@ Thank you for the explanation.. I'd have to read it several times to get it.. Love your videos..🥰.. I saw Patti in it, but my favorite is Bette’s.. It's on my local channel all the time…Barbra talked about having an opportunity, but Sondheim kept putting her off.. Would have been an interesting take..👌🏾… I love Patti so much in general.. I saw her and Mandy in Evita 4 times..when Broadway was affordable..🤭
My problem w/this production is Audra McDonald. Her voice isn’t “brassy” enough for Mama Rose. Her voice is almost too “legitimate.”
@gwmpsp420 You're not wrong.
@ don’t get me wrong, I think she’s a musical theater treasure, just not quite right for this show. (Also MY favorite!)
I agree. But if Audra is performing I will go!
I think in this case there is truth in advertising: this is AUDRA as much as GYPSY.
RIGHT!? This must be a limited run. What will they do when Audra's contract ends?
Please note she started with Dinner Theater in Fresno so She probably is channeling that
Who?
@ Audra
What does that even mean?
Seriously you should look up her bio Audra started at Roger Rocka’s Dinner Theater in Fresno California as a kid and so she gets the Show kid
@KirkLinnDeGrassi Ah! I see what you're saying. Thanks for the info!
JErome Robbin's work will be missed.
He was BROADWAY! (and BALLET!) Icon.
I will pass on this one.
I think it's miscast.
Loved Angela and Tyne and Betty Buckley. Did not like Bernadette or Imelda. Wish Liza could of played Rose on Broadway, such a loss. Maybe a version with Lady Gaga is coming ?
@NFNJP Vocally not the ideal casting but I will see anything that Audra is in because I love watching great actors on stage even if they are not perfect for the role. I really wonder what Audra would sound like if she chose to sing the songs in the lower keys and just stay in her chest voice. It's not like Angela Lansbury has a big belt. In fact, of all the broadway Roses, she sang Rose's turn in the lowest key and Audra sang it in the highest - half an octave higher than Angela! I'm posting a tangent talk video about this on Thursday.
It's not a strip club--it's a burlesque house.
Yes, that's what I tell my mother. :-)
I really didn't like this new version of the kids "growing up" and especially found it weird that ALL of the little Black children turned White when they grew up.... Choices....
I've come to the realization that only June and Louise were growing up and Mama Rose was replacing the black kids with new white performers. I think that's why they had her take the prop from the kid and hand it to the adult. I'm just so used to the orgiginal staging where ALL the kids grew up. After all they are named after the cities where Mama Rose found them on their journey to Los Angeles. Otherwise they would all be named L.A.!
Yes. Seems like a Dreamgirls Cadillac Car moment with white singers taking over the song at the end of the number.
Enjoyed your review.
I saw Tyne and Bernadette. Both great in their unique way.
@SLisheron1 Wish I'd seen Tyne. I was so excited to see her in Dount and then she got ill right before previews started so I missed her. :-(
Matthew let’s not forget Sondheim s lyrics
How could I? But if I opened that can of worms the video would have been an hour long! I was just thinking today how Sondheim purposely mis-stressed "decade" to show that the lyrics were written by Mama Rose. But then he couldn't help himself and wrote "She has a man cow, A tan cow, Who can cow her with a glance." Which is definitely a Sondheim lyric and NOT a mama rose lyric. Still...gotta LOVE.
@ in the movie version it’s a blue cow a new cow named Caroline.
@warrencroom7621 For the second verse?
Moo cow a new cow named Caroline
@warrencroom7621 I did not know this! I wonder if it was changed because Sondheim realized that he was getting too fancy.
I played Electra.
Yes! I'm sure you were electrifying
Dear Sir,
First time viewer, first time commenter, obviously, seeking UA-cam reviews on Audra’s Gypsy, hence I find you.
One wonders which performance of Gypsy you attended, upon which you based your remarks. When I stumbled across your clip, it was marked 20 hours ago … and here I am, Monday, December 16, late in the evening, seized by one particular reference that you make.
In your sector labeled “Thoughts on Louise’s journey,” you lament that the crowd work GRL extemporizes eventually spots a gentlemen seated in the mezzanine, whom she points out for his baldness … dismaying you, it seems, because said bald man was not seated below in the orchestra.
If one may be so bold as to inquire: Were you, perchance, in attendance at the Saturday matinee December 14th?
If you were, I am, in all honesty, in all sincerity, in all integrity, the bald man she was addressing. My seat was front row mezzanine on the aisle to the left - my bald dome, freshly shaved, gleaming brilliantly for her to notice as she scanned the front row above, finally setting sights on me. Looking, directly, at me.
I have witnesses.
Since then - me being me - I have made much too much of it, but let’s face it, when does a fellow from Philadelphia well into his sixties get singled out in the course of a Broadway show? Self-centeredness aside, I invite you to think - much as the orchestra may have missed, can you allow that the mezzanine delighted in the attention, albeit from a tired old man from Philadelphia?
It was thrilling, startling, so fleeting as not to be believed, yet here I am, defending the lived experience of what you may think a misfire.
Just saying.
Apart from that, I agree in earnest with every point raised in your review (even were I to be so blunt as to suggest Audra is, fundamentally, not right for the part).
And oh, please, hear me on this: In a show that traffics in naughtiness, I find nothing naughtier than (in past viewings) the moment GRL professes she had been “learning” French/Greek … which took me a number of years to understand, and when I did I was shocked, SHOCKED. Very much disappointed that this line was edited out of the current version. I wonder why.
Please know that I could not have enjoyed your review more, however wounded I may have felt at being the bald man who drew attention away from the orchestra.
My sincerest, best wishes to you for the season.
Brian Fauth
Phildelphia
@brianfauth143 Hey Brian! I WAS at the Saturday Matinee! LOL Small world isn't it? :-) You must have a very bright shiny head to catch Joy's eye from so far away. I love that you had that interactive moment in the theater! I think my comment was more about Joy lacking the "stand up comic" energy that allows us to see GRL coming into her own as a performer. If she chooses someone in the Orchestra then everyone in the theater can see who she is talking to and it becomes funnier. So next time you see Gysy sit down front in the orchestra! :-) In the Patti Lupone revival, Laura Benanti was so great in this scene, but if you've seen Laura in any of her solo shows you know that she is terrific at stand up. I thought the French and Greek lines were in there. She speaks French when she comes out and then says she's also been studying greek and that's how she learned the word "ecdysiast". I don't believe they changed any of the Arthur Laurents script.
I saw this production recently and I thought Audras vocal performance in the dramatic numbers was thrilling. There was a dangerous edge to her vocal placement that had me gripping my seat in fear she might crack or damage her voice but in the best way possible to convey her emotions. I think the production missed opportunities to say and do more with the race elements. It felt like a white staging with black actors.
Interesting! Like I mentioned in my review it's dangerous to stray too far when you're working with a classic like Gypsy that has always been done one way. I think the Director and Choreographer were being careful to not go too far afield. I would have loved to see an all black production. I really want to see eh strippers played by women of color! I'd be really curious to hear Audra sing those songs in the lower keys and not use her head voice at all.
👍
Team Angela
Did you see her play Rose?
@@dorislachat9581 She was so very good!! I loved her as Rose!!
@@MatthewHardyMusical Indeed I did, Denver 1974 on her pre-Broadway tour. I also saw her in Sweeney, San Francisco 1981.
jeally
@@MatthewHardyMusical I also saw Marlene Dietrich in '71.
Since you asked INDULDGE ME in the thumbnail, I will: You spelled it wrong.
Thank you for pointing that out! I do these so fast that I make lots of mistakes. I have fixed it!
Prefer Audra as an actor much more than a singer. I do not like her voice at all, unless it's a classical piece. From what I've heard of this production, she was miscast.
Yes, you could say she is vocally miscast.
Sunset Boulevard and Nicole; it's ALL Great.
This; Audra is great, the rest is Soooo poor.
I cut this from my review but I really liked Danny Burstein as Herbie and Jordan Tyson as June. And the 3 strippers are great! But it's really difficult to compare Sunset to Gypsy because they're such different interpretations. I think that Sunset will win the best revival Tony over Gypsy because it's doing something more daring. The question is who will win best actress in a musical?
I hate preview reviews
@JudiRadin I saw the first press preview. The show had been frozen.
Being a director, having been in GYPSY (Yonkers) under the direction of Richard Sabellico (Yonkers in Lansbury cast/producer Daly), I have high standards for the show and you hit on all the key points that would have been focusing on. The one that hit me the hardest was the choreography. I'm sorry but A CHORUS LINE isn't A CHORUS LINE without Bennett's choreography just as HAIRSPRAY wouldn't be HAIRSPRAY without Tracy's signature wig just as Dolly wouldn't be Dolly coming down the steps of the Harmonia Gardens in anything but a red (sorry Barbra). Somethings ya' just don't mess with. Second, when I saw the final bows, here on UA-cam, I thought, 'Okay, so they're approaching this as a black troupe also having to deal with racism being in the vaudeville circuits. Clever and cool and easy to work ... although I was having difficulty dealing with this being a "fable" based on actual historical people. But, like you say, it sounds like they made it confusing. And, yes, I had concerns over the belter-vs-lyrical voice. I've seen EVITA too many times in which Eva wasn't portrayed by a belter. It just doesn't work for me. All of these things would turn me off about the show but ... who can resist Audra? I doubt I'll get the opportunity to see this production (I could travel to Paris on what it costs to see a two/three hour B'way show, any more) but, forced to choose, I wouldn't hesitate to go see this to see Audra.
Thanks for the post.
Love Richard Sabellico! I used to take his song study class back in the day. I'm not sure I agree with you regarding the choreography. For heavy dance shows like West Side Story, A Chorus Line, Chicago, Cats etc. the dance really becomes part of the show in a similar way the music and lyrics do. BUT Gypsy isn't' a dance heavy show, so I think there is more room for reinterpretation of the dance sequences. I only missed the Robbins choreography/direction when what was on stage was lacking. I REALLY missed Louise taking off her clothes and then using the curtain as a cover up as she walks across the stage. It's an iconic moment that you have to come up with something really spectacular to make us forget about it.
@@MatthewHardyMusical True! That's another restriction I have in regard to directing the show (and 42ND STREET, for that matter). It would HAVE to have that stage curtain so few newer theaters afford.
As for Gypsy choreography, I have a lot of respect for you and am happy to agree to disagree. It's just one of my own personal little quirks. Perhaps I just like to see how much I remember Robbins' choreography. Funny, I can seldom remember the lines I had in shows like GYPSY and A CHORUS LINE but I can always remember the choreography.
I was working a gate at DFW Airport in the mid-to-late 90s and when I was looking at the list of passengers yet to board, I saw that Richard had arrived on a late inbound flight. I anxiously awaited his arrival but, because he was in a hurry, regretted that we only had a few moments to catch up. He was quite flustered, as late passengers tend to be, but it was good to see him. I doubt he'd even remember me, these days.
I haven't seen him for ages either. I don't know what he's been up to. He's a character. :-) Thanks for the comments and for watching my little videos! And now a 5-6-7-8!
That change sounds really awkward, like that isn't what color blind is or I'm missing something, it sounds like segregation.
Would the director have turned away dancers of Mexican origin or East Asians if they auditioned? Can casting directors and agents legally say we're only casting blacks right now. No White or Asian Mid-Easterners or White or Taino Puerto Ricans need submit an audition application? I'm sure they do just not as clearly and unambiguously
@@keouine As far as casting minorities its not that big of a deal, what qualifies as a minority gets kind of strange, as there was the "one drop" rule for segregation and black people, and you will find that people with still very little black blood grew up in black culture and would be more likely to identify as black, not sure how Hispanic/Latin culture words, because it include black and white, like Marco Rubio is definitely white. The government doesn't include half Asians as anything, this includes the continent of Asia minus Slavs like Russia, Ukraine, etc. I do get really confused because its fine if Tilda Swinton takes an Asian male role, so including 2nd wave feminism works somehow too? I don't know, its all really arbitrary tbh.
@@keouine I guess I should add something else, Nicholas Christopher and his brother Jonathan are Bermudan, I am fairly sure they qualify as black, and Nicholas is quite the up and coming playing Pirelli, Sweeney, Jelly, and Seymour in Little Shop, I am fairly sure he is the first in some of those, but I have never heard him billed as "first black Seymour". I would consider the cast for Sweeney color blind, Jordan Fisher was Anthony, Joanna a white Latina, beggar woman E Asian, Nicholas Pirelli/Sweeney alt.
@Gee-xb7rt I did come to the realization after I recorded this video that I think the intention of the creative team was to do non-traditional and not color blind. I misunderstood the black children turning into white adults as being color bind, but I think the idea is that Mama Rose replaced them to appeal to a white audience as they became more successful.
@keouine It has been brought to my attention that Lili Thomas who plays Mazeppa is Asian. BUT to answer your question, yes casting is one of the places where you can deny people work based on their race, gender, age and disability. No one would be turned away from an open call. But they might "type" actors out which is really the same thing. Casting calls aren't so explicit but actors and agents know how to read between the lines so that they don't waste their time submitting talent who the creative team is uninterested in casting. This idea that you can only play what you are or write from a lived experience has gotten a little ridiculous but I hope it calms down as there becomes more representation for minorities and everything levels out.
I go to see the sets. I want them to fly and slide.....that's the magic of Broadway. I killed two birds with one stone Thurs night.....Audra and Danny. I can get past all that . They are playing characters. My one fault....the strip....too quick and not spectacular enoungh. It was rushed. Audra, like Tyne acted the hell out of the part, so it made up for it!
Thanks for the comment. I liked the sets that weren't part of the Vaudeville act. Especially loved Gransinger's office with the wood and Tiffany inspired glass. I agree. I wanted a lot more from the strip. This is Louise's big moment, let her have it!
I watched the show on its third night of previews, and I didn't like it. Great acting all round but the production felt dated. And I was really hoping that Audra would belt out those famous songs.
@@MatthewHardyMusical Yes, I think Laura Benanti's was perfect!
Woke productions present... the show was highjacked for an agenda
@frederickcombs8661 to win Audra her 7th Tony?
Color blind or nontraditional? Seems overthinking. Is the story about race? If not, trying to decide whether it’s colorblind or nontraditional seems to be a diversion that’s irrelevant and racist.
Overthinking is my brand! I think this production was trying to make it about race, hence all the comments regarding the casting. Thanks for the comment!
I hate colorblind casting. I want to escape into a show and not start thinking about race. Let's cast people that match the character descriptions please. If you want a character to be black, fine, but let's not have them change in the middle to a different race, or have them play George Washington. i don't want a white Mohammad Ali. I shouldn't have to think about it during a play.
After recording the review I have come to the realization that the intention may have been non traditional casting and that Mama Rose replaced the black chorus boys with white boys as the act became more successful. But I missed that when watching the show. Others have said they understood that was what was going on. Honestly I would have been fine if they just cast everyone as black like they did with Pearl Bailey in Hello Dolly. Then we don't have to think about how the racism of the time would be affecting the narrative. Thanks for the comment!
Well, historically white actors have been portraying Black, Latino, and Asian actors for decades. So, let's not get too precious on this casting. The hypocrisy from your people is unreal.
@AR36-45 Hypocrisy is an American institution. Thanks for the comment!
Whenever I hear anyone say "Mama Rose" I know they don't know what they're talking about.
Do you prefer Madame Rose?
She is Madame Rose all through the script, not Mama Rose. Ever.
True! But June and Louise refer to her as Mama. In my review I refer to her twice as Madame Rose and as Mama Rose 9 times. But I have a very close relationship with her. Please forgive.
I saw Gypsy in early previews. I was bored. It was too long. Act 1 dragged. Is Gypsy always almost 3 hours long?
Have not seen a stage production before. I didn’t like Audra’s voice for this role. I had high expectations for this production and was underwhelmed. Would not see this production once open. Yes, she’s Audra, but she’s not right for every role. No question Audra is talented, but it’s not her best role.
I enjoyed Danny Burstein and Joy Woods.
Good question. Looking at bootlegs from previous productions the show can run between 2 hours and 30 minutes and 2 hours and 50 minutes But the Broadway productions tend to be on the longer side. Gypsy is an older show so with the Overture, the Entr'acte and a curtain call for 30+ actors they tend to run long. In this production I thought the first act could be tightened up but for me Act 2 really moves - with the exception of when the Toreadorables arrive at the Burlesque stage door. That scene transition took forever! But once we hit burlesque the show flies. Thanks for sharing your thoughts!
If anyone that's seen the new production can comment, I'll cut to the chase: MAZEPPA. ELECTRA. TESSIE TURA. Thoughts?
@giggles7179 I thought they were all great! Mazeppa actually plays the trumpet quite well. Tessie has clearly had some classical dance training. And I think Electra was drunk. :-)