| Seeing Madame Rose (some spoilers) | |
| Last Edit: lordofspeech 08:40 pm EST 01/12/25 | |
| Posted by: lordofspeech 08:37 pm EST 01/12/25 | |
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| GYPSY was beyond words. Unbelievably moving. I went to the TKTS booth Saturday and ended up with a reasonably priced seat in the second row for today. SECOND ROW!! I have never been more moved in the theatre. Audra and director George C Wolfe create something indeed epic. You will weeeeep! ❤️ SPOILERS: The Tulsa number seems awkward and real in a completely appropriate, endearingly improvised way. Loved him, and loved Joy Woods as Louise in it. The way Madame Rose eliminates the dark-skinned chorus boys and replaces then w light-skinned chorus boys, while insisting that Louise hide her face with the American flag tells an apt story about color prejudice, without tipping the story. Joy Woods’ Louise creditably moves us with ‘Little Lamb’ and with her work in the scene just before ‘Everything’s Comin Up Roses.’ The work George Wolfe and his Dainty June (Jordan Tyson) have done together on June is harrowing. Burstein is, expectably, magnificent. Ms Audra Mc Donald’s interpretation is incredibly moving. Her devotion to her daughters (and her dreams) is tragic and beautiful. The jalopy is grand. The stripper dressing room is swell. Audra’s costume and wig are flattering. I think there’s a longer-than-usual dance break in ‘You’ll never get away from me,’ and it’s not just sweet but very sexy. The first time Audra’s soprano ripped out (on the word ‘bloom’ in ‘thrive and bloom’), I was a teeny bit taken aback. As the show progressed, it became a very apt Madam Rose affectation; in ‘Together,’ Rose and her Herbie and Louise make a little fun of Rose’s being high-falutin,’ which kinda helps ‘own’ that sound. By the final ‘Rose’s Turn,’ all the different colors of her voice were integrated and cracked every ceiling in the house. I was shaking. |
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