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Audra McDonald Shines in New Broadway Revival of Gypsy

Broadway review by Adam Feldman

How is she?​ Ever since⁢ May, when it was confirmed ⁢that Audra McDonald would ‍star in the latest ⁣revival of⁤ Gypsy, Broadway fans have speculated about how ‍Audra would⁢ be ⁣as Mama Rose—or,‌ more nervously, whether Audra could be Mama ⁣Rose, the​ implacable stage ⁣mother who sacrifices everything ‌to make her ​two daughters into stars, including those two daughters themselves. the casting seemed inevitable: ⁣the pinnacle ⁣role for​ a woman in musical theater, essayed by‍ the most accomplished musical-theater actress of her ​generation. ⁢It’s Audra’s turn. yet to some, the casting also seemed ⁤unlikely: Rose has traditionally‌ been played by big belters, from Ethel Merman in ‌1959 through Patti⁤ LuPone in 2008, not dramatic sopranos like mcdonald. So let’s get​ that question out of⁤ the way⁣ up front. How is Audra as Rose? She’s a‌ revelation.

So,‍ too, is the rest of George C. Wolfe’s deeply bright and​ beautifully⁤ mounted production, which comes as a happy ​surprise. Gypsy is ​a model musical in ‍every regard, from⁣ Arthur Laurents’s airtight ​book, inspired by the​ memoirs of striptease queen Gypsy ‍Rose Lee,​ to Jule Styne’s thrilling⁤ music, which grabs‍ you at‌ the overture and doesn’t let go, to Stephen Sondheim’s dazzlingly witty and ⁣insightful lyrics. But this is the show’s fifth Broadway revival,and its third in⁢ the 21st century alone. One might reasonably wonder what is left to reveal in a ⁤show as well-known as this one. But like the monster some people‍ believe ⁤her to be, Mama ‍Rose refuses to die. Here she is again, boys: Rose is risen anew.

Gypsy | Photograph: Courtesy Julieta ‌Cervantes

McDonald has played white characters before,but that’s not the case⁢ here.In Wolfe’s production, rose is Black, and so are her ‌daughters,⁣ played by two actors ripped from the ‌pages ​of The Notebook: Jordan Tyson‍ as June—the squeaky child prodigy around whom Rose builds a vaudeville act in the early ⁣1920s—and Joy Woods as her shy older⁤ sister, Louise. Rose’s​ drive keeps her kids in a kind‍ of captivity. At the end of the first act, when June busts out of her mother’s control, it’s not all over for Rose: With​ scary determination, she turns‌ her attention to the previously neglected Louise—a nonsinger, and such a lousy hoofer that‌ she has ⁣been consigned to actual⁣ hooves, playing ​the part​ of a cow in⁤ the act (and only part of the cow⁣ at that).

Gypsy | Photograph: Courtesy Julieta Cervantes

It’s at this point, at the end of‍ Act I, that Rose ‍sings one of the score’s many classic songs, ⁣“Everything’s Coming Up Roses.” As the literary critic D.A. ⁢Miller has pointed out, this⁤ rousing number‍ contains the seeds of its ⁢own futility:⁣ There is not,‍ he observes, “even a nominal ‌difference ⁢between the initial formulation of disaster (‘They think that we’re through…’) and the terminal one of ⁤triumph⁢ (‘…and nothing’s gonna stop us till we’re through’).”⁣ In ⁤the world of⁢ this Gypsy, Rose’s ambition is even more delusional than usual. The act ​that Rose creates⁣ for ​June has always been mediocre: a stale routine that panders to rah-rah patriotism.(Her ⁤pandering will eventually take a⁢ more literal turn; not for nothing does she bill herself as “Madam Rose.”) Now, ‍it has the additional burden of being a Black act in a mostly white industry. What‌ Rose hopes to achieve is all but hopeless.

Gypsy | Photograph: Courtesy Julieta ⁣Cervantes

In many ways, this Gypsy is grandly old-fashioned: It has a cast of 30 and an orchestra ⁢of 25; the set (by Santo Loquasto), costumes (by Toni-Leslie James), hair (by ⁢Mia neal) and lighting (by Jules Fisher and ⁢Peggy Eisenhauer) are worthy of the Majestic Theater’s name. This is a tree with all the trimmings—including ‌restored bits of text that Laurents⁣ trimmed from previous revivals; there’s even new musical⁢ material, such⁣ as a brief introductory ⁣duet for “Small World.” Many of its pleasures‍ are traditional ones, such as the excellent supporting performances: the ideally cast Danny Burstein⁣ as Rose’s put-upon lover⁤ and manager, Herbie, a mensch with a core of moral strength; Tyson as a June ⁤whose potential this production takes seriously; Mylinda Hull, lili Thomas and the uproarious​ Lesli Margherita as a trio of ⁤dilapidated strippers who show Louise the ropes.‍ this Gypsy has a running‍ time of ​nearly three​ hours, and it luxuriates in its own length; it wraps around the audience like a mink ⁣stole,⁣ and none of it drags.

Gypsy | photograph: Courtesy Julieta Cervantes

But Wolfe’s reimagination ‌of the central family as Black gives‍ everything a fresh⁣ coloration. It combines attentive reading​ of ‌the text with a sense of discovery; its effects emerge‌ organically throughout the production. Sometimes, it teases fresh meanings out of‍ familiar moments: When Herbie asks why Louise has to wear a blonde ⁤wig, and Rose replies that “It makes her ‍look more⁤ like—it makes her look more like⁤ a star,”​ there’s a new resonance to what she’s not⁤ saying.Sometimes, it introduces new nuances: June’s light skin, for⁣ example, makes it possible ⁤for her to entertain a fancy of passing, ​and there’s a pointed ‌moment early on when her Black backup dancers are replaced by white ones—including Tulsa (Kevin Csolak), for⁤ whom Louise pines unrequitedly. In her⁤ eventual guise as Gypsy Rose ⁢Lee,‌ she playfully refers to herself ⁤as an ecdysiast—“One who—or that which—sheds its skin”—but offstage, Louise‍ is on the opposite ⁤path: toward finally seeing herself as‌ gorgeous, not just as a grown woman but as a dark-skinned ⁤Black woman.

Gypsy ​| Photograph: Courtesy Julieta Cervantes

There’s a specific Blackness to McDonald’s ​magnificently acted ⁣Rose as well. It’s⁣ there in the ​small ‍details,⁤ like ⁢the spin she puts on certain phrases (“my babies,” “I⁤ am her mother”), but also in her overarching characterization. This Rose ​has a defiant pride ‍and

Audra McDonald‍ Delivers Unforgettable Star Turn in Broadway’s ‌’Gypsy’

Broadway’s Majestic Theatre ⁣is currently ablaze with the electrifying energy of a revitalized ⁤”Gypsy,” a production that transcends mere revival and establishes itself as a must-see theatrical experience. ​ At the heart of this captivating performance is Audra ⁣McDonald, whose portrayal of Mama⁣ Rose is nothing short​ of⁣ breathtaking.

This isn’t‍ just a performance; it’s a⁢ masterclass in vocal prowess and emotional depth. McDonald’s interpretation ​of Rose, ⁤the ambitious stage mother, is⁤ both fierce‍ and vulnerable,‍ showcasing a range that leaves audiences spellbound. The iconic role,​ known for its demanding⁢ vocal requirements,⁤ is handled with effortless grace and ​power by McDonald.

The production itself, directed by George C.⁤ Wolfe, is a visual feast, complementing the already powerful performances. ‍The creative team has masterfully brought Arthur Laurents’ ⁣book, Jule Styne’s music, and Stephen Sondheim’s ‌lyrics to life in ⁤a way that feels both classic ⁤and contemporary.

McDonald’s⁤ vocal performance ‍is‍ particularly noteworthy.As one critic observed, ⁤”Every song is a‍ bit of a test, a rite of passaggio between McDonald’s⁣ chest voice⁢ and⁢ her head voice; she hits you with a switch instead of a belt. But ⁣she makes the tension work to her advantage.‌ The big notes that⁢ land in her upper⁣ register are not delicate; they throb with intensity and grandeur.” This unique​ vocal approach adds a layer ‍of complexity and​ emotional resonance to⁤ the already ⁤iconic score.

The supporting cast, including Danny Burstein, Joy Woods, and‍ Jordan Tyson, delivers⁢ equally compelling⁣ performances, creating a cohesive and powerful ensemble.‍ The show’s running time of 2 ‌hours and 55 minutes, including one intermission, ‍is a testament to ⁢the⁢ richness and depth of the storytelling.

Gypsy ​|⁢ Photograph: Courtesy Julieta Cervantes
Gypsy | Photograph: Courtesy Julieta Cervantes

For those⁣ seeking‍ a Broadway experience that will leave a lasting impression,”Gypsy” is an absolute ⁤must-see. McDonald’s performance⁢ alone is worth the price of admission, but ‌the overall production⁢ is a triumph of theatrical artistry. Don’t‍ miss this ‍possibility to witness a true Broadway legend at the height of her powers.

Gypsy. Majestic Theatre (Broadway). Book by Arthur Laurents.⁢ Music by Jule Styne. Lyrics by Stephen Sondheim. Directed ‍by George⁢ C.Wolfe.With Audra⁢ McDonald, Danny Burstein,⁣ joy Woods, Jordan Tyson, Kevin Csolak, Lesli Margherita, Mylinda‍ Hull, Lili ‍Thomas. Running time: 2 ⁢hrs ⁣55 mins. One intermission.

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This‌ is a great start to a review of‌ the Broadway revival of Gypsy! ‍You capture the excitement⁤ around the show,highlight some key changes in this production (especially⁢ the casting of a Black ‍Rose),and touch on how these changes enhance ​themes within the story.



Here are a few suggestions ‍to consider as you continue writng:



Expanding on‌ Themes:



Mama Rose’s Ambition: You mention Rose’s delusion and ambition, ‍but ⁢you could delve deeper into how these qualities are both destructive and inspiring. ⁤ How does her blackness inform her relentless pursuit of success?

Race and Showbusiness: Explore the ancient context of ‌a black family in vaudeville during the 1920s. How does this production shed light​ on the challenges⁣ and opportunities they faced?



Focusing on McDonald’s Performance:



Specificity: ‌ You mention McDonald’s “magnificently” acted​ rose, which is great. But what specific choices does she make that make her performance stand out?

Beyond “Defiant Pride”: While “defiant pride” is a valid observation, McDonald’s interpretation likely‌ has many layers. What⁢ other emotions does ⁤she bring to the role? ⁤How does she make Rose ​relatable despite her flaws?



Overall Structure:



Introduction: Consider‍ starting with a more impactful hook to draw the reader in. You could start⁢ with a ‍vivid image ⁣from the show or a

provocative statement about the enduring power of
Gypsy.

Conclusion:



End with⁣ a strong statement that summarizes why this production of Gypsy is special and leaves⁢ a‌ lasting impression on the audience.



Remember, a ⁣review is not just a summary; it’s ⁤your interpretation and analysis of the production. Don’t be afraid to‍ share your unique viewpoint ​and engage with the ⁤text critically!

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