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Regional Reviews: Phoenix Gypsy Also see Gil's review of South Pacific
While it was based on Gypsy Rose Lee's 1957 autobiography "Gypsy: A Memoir," and the plot does include the journey of Lee from childhood vaudeville performer to burlesque star, the main focus of Gypsy is on Lee's mother, Rose, and her desperate attempt to turn her two daughters (June and Louise) into stars. Set in the tacky worlds of the touring vaudeville circuit of the 1920s and the raunchier burlesque environs of the 30s, we equally admire, love, pity and also cringe at this determined, delusional stage mother who pokes, prods and pushes her daughters and will do anything to make her children famous, but deep down hungers for the limelight herself. It is also a cautionary tale of the desperate desire and drive for fame. Gypsy came together just two years after the success of West Side Story, with playwright Arthur Laurents teaming again with Stephen Sondheim and Jerome Robbins, his West Side Story partners, but with the addition of composer Jule Styne. Laurents wisely crafted Lee's memoir into a tale centered not just on the rise of Lee to Burlesque star but of the ultimate stage mother, and his book for Gypsy has often been called the greatest book of a musical. It is so well constructed with fully fleshed out characters that are completely three dimensional and no scene that is unnecessary to the story. It also has a knock-out score as well and the combination of Laurent's book, Styne's score and Sondheim's lyrics are why it has been revived on Broadway four times and is constantly produced in regional theatres. SMTC's production is a testament to the power of this exceptional musical. Director David Hock has assembled a talented cast, led by Debra Qualtire as Rose and Sarah Cassidy as Gypsy Rose Lee. Qualtire delivers a fairly nuanced performance. She at first assays the pushy, determined stage mom with ease. But when a man named Herbie comes into the picture to manage the girls and also finds himself as Rose's beau, Qualtire's Rose echoes softer shades of kindness and care underneath her bulldozer exterior before fear and desperation ultimately take over. She is also very funny as well, making sure her many humorous lines resonate. While I wish she displayed a few more moments of true terrifying force and showed us more clearly how Rose ultimately turns into a broken down woman, and a few times on opening night she stumbled and paused a few times in her line delivery, it still results in a nuanced performance of this show biz trouper who won't let anything, or anyone, get in her way. Qualtire also has a warm, strong voice, delivering lively versions of her songs, including a strong "Rose's Turn" that is only missing a moment of ferocity and insanity to make it truly heartbreaking. Even with everything falling apart around her, Qualtire shows us how Rose desperately tries to hold on and ends up delivering a touching performance. Sarah Cassidy does a skillful job in portraying Louise's transition from the shy, mousy and quiet "tom boy" in the background to the calculating, manipulative and bawdy woman, who learns to use sex, or sexual innuendo, to her advantage. Her downcast eyes and quiet line delivery to portray Louise's shy, unsure moments are countered nicely once she blossoms into the headliner stripper and finds her voice and place in the world. Terry Gadaire is Herbie, Rose's lover and the girl's agent, and he is fantastic, instilling the character with a deep amount of warmth, even as he is continually manipulated by the woman he simply loves and just wants to marry. The role of Herbie can usually be one dimensional and an almost throwaway part, especially when portrayed by an actor who isn't able to hold his own against the stronger Rose. That isn't the case with Gadaire who delivers a stirring, affecting performance. Madison Ottinger is quite good as the adult June, doing a nice job in portraying a teenager who has plans of her own. Her duet with Cassidy of "If Momma was Married" is a highlight with some nicely delivered comic bits. As Tulsa, one of the boys Rose hires for their traveling act, Alex Crossland shows off some fancy footwork and a lovely singing voice in his "All I Need is the Girl" dance solo. Kathleen Dooner, Liora Danine and Ashley Nebeker are very funny as the trio of bickering, hardened strippers who deliver the comic gem "You Gotta Get a Gimmick," with Danine not missing a comic beat in her scenes with Louise as the "seen it all" Tessie Turra. In the ensemble, Nicole Bond is appropriately biting as secretary Miss Crachitt; Todd Corbeil is perfect as Rose's father; Glenn Parker does nice work in a few small roles and Megan Rose is charming as the naïve Agnes. Hock keeps the show grounded in reality, only rarely dipping into caricature or camp. He also doesn't skirt the emotional issues at the core, and ensures the dialogue scenes are as skillfully delivered as the many show stopping musical numbers. His actors have excellent chemistry with each other, and also deliver realistic characters, all of which is a testament to Hock's directorial skills. However, he does rush the very end of "Rose's Turn," with Louise coming on too quickly, so a key moment doesn't quite resonate and the long transitions between scenes will hopefully be faster once the cast and crew get more performances under their belts. Hock also should reel in a couple of the ensemble members who are overacting. Costume designs by Thomas G. Marquez, which also include some costumes provided by Music Theatre Wichita, are a range of styles from colorful, period centric vaudeville performance pieces to hilarious stripper's outfits. Tylar Talkington's set design includes many large scale rooms for the various locales, though the large sets do contribute to the lengthy scene changes. Kevin Hayward's music direction is assured and he also conducts the large orchestra with skilled playing throughout including an overture that is played with gusto. Seeing Gypsy today actually reminds you of the multitude of reality tv "stars" and the questionable actions of parents who are desperately trying to make their children famous. But it also makes you realize that this is all related to the public's fascination and addiction to success and stardom, who in turn are pushing these parents to satisfy the public's need. So deep down, there is a little bit of "Rose" in all of us. The Scottsdale Musical Theater Company's production of Gypsy runs through August 23rd, 2015 with performances at the Tempe Center for the Arts, 700 W. Rio Salado Parkway. You can get information on this show and order tickets by visiting www.scottsdalemusicaltheater.com. Tickets can also be ordered by calling 602-909-4215 Directed and Choreographed by David Hock Cast
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