In his autobiography, book writer Arthur Laurents dissects at length (without varnish) his complex friendship and professional relationship with Jerome Robbins, and tells a beautiful anecdote about how Robbins (less than a joy to work with on 'Gypsy') sketched out this number almost improvisationally on the roof of the New Amsterdam Theatre with only a rehearsal pianist, his assistant, and Laurents as Louise ([because, like Louise] '''you can't dance."); in an instant, Laurents relays, all Robbin's singular genius came out, building what amounted to a one act play in music and dance in an hour or two. No one knew what a success 'Gypsy' would be at the time, so this scene, now regarded as one of the iconic 'signature' numbers for a young male triple threat, was as much a shot in the dark as any other part of the show (or the show itself, which, at the time, was hanging only on the 'sensation' of Miss Lee's autobiography and on the framework that a major star [Merman] was going to carry it). Of course, that's all stage history now, and 'Gypsy', like 'Plenty', like 'The Prime of Miss Jean Brodie', among others, is one of those modern parts for an actor that rolls over endlessly into cries of 'The definitive performance!'. This makes me smile; for me, great roles can't have 'definitive' performances: gifted actors find something new in them every time. "Definitive" calcifies, ossifies. As Artaud declaimed, "No more masterpieces!" (though I quote this out of context). Imagine never finding reason to play 'Hamlet' or 'Hedda Gabler' again! It's cameo-like perfection aside, what IS often unacknowledged about the scene is its brilliance in setting up the next - the end of the first act. "Everything's Coming Up Roses" in not charged simply by Rose's manic act of salvage in the face of a narrative device (June running away), but by her obliviousness to Herbie's logic and, more profoundly, to her daughter's emotional despair - amplified doubly because we feel Louise's sorrow at being abandoned by Tulsa, and yet again by her mother.
At the time, Robbins said Timmy Everett was the only dancer in New York who could do justice this number, but he wouldn't work with him under any conditions -- Timmy's reputation was that bad.
It's a wonderful commentary on what supreme musical theater artists Jule Styne and Stephen Sondheim were/are that, writing for a show that starred that primal force of nature named Ethel Merman, they wrote so many great numbers in which Madame Rose doesn't appear. "If Momma Was Married", "Little Lamb", "All I Need Is The Girl", and -- supremely -- "Ya Gotta Get A Gimmick". "Gypsy" is a musical drama, not a one-woman show; one of the many reasons that it hasn't aged a day in 61 years.
My favorite voice doing this tune. I mean, like, my favorite version. So authentic sounding if that makes sense. Haha Playing drums in the orchestra for this show coming up in May. Can't wait, my second time. One of my favorites. Hope they cast a good Tulsa. Haha
Thank you for posting! I saw Tony Yazbeck in On the Town, where he was terrific as well -- and where he danced the big pas de deux in Act II beautifully! (Is he the first Gabey not to use a dance "double"?) Btw, the title of the song is : "All I Need is THE Girl."
Good God, THANK YOU!! That said, I'm still waiting anxiously for a video of my personal holy grail… 'You Gotta Have a Gimmick'. Thanks very much again, Will
For my nickel, musical theater's most underrated number simply because it is performed by such a minor character in a masterpiece with so many jewels for the stars. This number does allow Louise one of her most touching moments in the show. I love Laura Benanti but I still feel she sang this role too well. If Louise had that much actual talent, I think that makes Rose more unlikeable and almost cruel.
Laura Benanti is so good in this clip.
The expressions on her face are both beautiful, and heart-breaking.
Argeaux2 Exactly
In his autobiography, book writer Arthur Laurents dissects at length (without varnish) his complex friendship and professional relationship with Jerome Robbins, and tells a beautiful anecdote about how Robbins (less than a joy to work with on 'Gypsy') sketched out this number almost improvisationally on the roof of the New Amsterdam Theatre with only a rehearsal pianist, his assistant, and Laurents as Louise ([because, like Louise] '''you can't dance."); in an instant, Laurents relays, all Robbin's singular genius came out, building what amounted to a one act play in music and dance in an hour or two. No one knew what a success 'Gypsy' would be at the time, so this scene, now regarded as one of the iconic 'signature' numbers for a young male triple threat, was as much a shot in the dark as any other part of the show (or the show itself, which, at the time, was hanging only on the 'sensation' of Miss Lee's autobiography and on the framework that a major star [Merman] was going to carry it).
Of course, that's all stage history now, and 'Gypsy', like 'Plenty', like 'The Prime of Miss Jean Brodie', among others, is one of those modern parts for an actor that rolls over endlessly into cries of 'The definitive performance!'. This makes me smile; for me, great roles can't have 'definitive' performances: gifted actors find something new in them every time. "Definitive" calcifies, ossifies. As Artaud declaimed, "No more masterpieces!" (though I quote this out of context). Imagine never finding reason to play 'Hamlet' or 'Hedda Gabler' again!
It's cameo-like perfection aside, what IS often unacknowledged about the scene is its brilliance in setting up the next - the end of the first act. "Everything's Coming Up Roses" in not charged simply by Rose's manic act of salvage in the face of a narrative device (June running away), but by her obliviousness to Herbie's logic and, more profoundly, to her daughter's emotional despair - amplified doubly because we feel Louise's sorrow at being abandoned by Tulsa, and yet again by her mother.
At the time, Robbins said Timmy Everett was the only dancer in New York who could do justice this number, but he wouldn't work with him under any conditions -- Timmy's reputation was that bad.
What a charmer that Tony Yazbeck is.
It's a wonderful commentary on what supreme musical theater artists Jule Styne and Stephen Sondheim were/are that, writing for a show that starred that primal force of nature named Ethel Merman, they wrote so many great numbers in which Madame Rose doesn't appear. "If Momma Was Married", "Little Lamb", "All I Need Is The Girl", and -- supremely -- "Ya Gotta Get A Gimmick". "Gypsy" is a musical drama, not a one-woman show; one of the many reasons that it hasn't aged a day in 61 years.
The best Tulsa I've ever seen.
My favorite voice doing this tune. I mean, like, my favorite version. So authentic sounding if that makes sense. Haha Playing drums in the orchestra for this show coming up in May. Can't wait, my second time. One of my favorites. Hope they cast a good Tulsa. Haha
to think I worked with this guy only 2 years ago! so talented
Yazbeck impeccable as always
Thanks for posting. The camera work likely unintentional but adds to the breathless excitement of the moment. Tony Yazbeck has it all. wow.
Do you have the whole show? I have been trying to see it for years! :)
How lovely was THAT????
Aww, she seems so earnest.
The best Tulsa and Louise I ve ever seen
One of the great moments of the American musical theater. A small, thrilling drama in dance and song.
He kinda looks like Adam Kantor mixed with Oscar Isaac😂😂
Thank you for posting! I saw Tony Yazbeck in On the Town, where he was terrific as well -- and where he danced the big pas de deux in Act II beautifully! (Is he the first Gabey not to use a dance "double"?) Btw, the title of the song is : "All I Need is THE Girl."
Good God, THANK YOU!! That said, I'm still waiting anxiously for a video of my personal holy grail… 'You Gotta Have a Gimmick'. Thanks very much again, Will
I am now in love with Tony Yazbeck
So good, it moves me to tears. ...and Omigod, the orchestra - so beautifully conducted.
Great performance, at least what little I could see of it is.
For my nickel, musical theater's most underrated number simply because it is performed by such a minor character in a masterpiece with so many jewels for the stars. This number does allow Louise one of her most touching moments in the show. I love Laura Benanti but I still feel she sang this role too well. If Louise had that much actual talent, I think that makes Rose more unlikeable and almost cruel.
Was the shrieking a choice…?
Great to see the future Mrs Trump in her day job.
One of the most tragic bway scenes
Tulsa was his dream role. Wish granted. :)
@ITCJon Even so. It's the not the length of the role, but what the character gets to do that make him / her memorable.
Wonderful. Even with the camera bouncing around.
Do you have the whole show? I beg
wickedfan7681 n
5 years later you probably seen it but here goes: ua-cam.com/video/ZuSCaVkfsz4/v-deo.html
Great scene, great song, too bad so poorly filmed.
We don't deserve Tony Yazbeck 😭
This cast took Gypsy to a different level. And no one comes close.
Is he gay so handsome and hot and talented
Damien Burke he’s married to a woman. And yes very talented