Review: Audra McDonald Is One Mother of a Rose in a Stupendous Gypsy
Audra McDonald is the first Black actress to play Madame Rose on Broadway, and she and director George C. Wolfe deliver what may be the most heartstopping 'Gypsy' you’ll ever see.
"Despite its indestructible book and score and several strong performances, the show Wolfe has built never quite hangs together. Its gestures at times feel stock, at other times scattered, and as in much of Wolfe’s work with Loquasto, there’s a sense of getting stuck somewhere between worlds. "
Audra McDonald Excels in Mixed ‘Gypsy’ Revival on Broadway
SING OUT!
The Tony-winning legend is a ferocious, unforgettable Mama Rose. But the production around her lacks the electric charge that she brings to every song and line reading.
"Which brings me to her singing. The actress’ silky soprano has been celebrated for decades. She’s won six Tonys. And her voice is as beautiful as ever here — unfortunately, often on songs that flat-out must not be pretty to fulfill their dramatic purpose: the raw desire to succeed in a harsh world.
Until “Rose’s Turn,” in which she powerfully cries and shakes as Rose breaks down, her numbers like “Some People” and “Everything’s Coming Up Roses” tend to float soothingly. In “Gypsy,” that’s tantamount to a parking brake. Imagine another Styne tune, “Don’t Rain On My Parade,” being sung like “Casta Diva,” and you get some idea."
"With a musical like Gypsy, full of flash and wordplay, it’s easy for spectacle to overtake storytelling, yet George C. Wolfe’s direction makes every lead character’s psychological arc crystal clear. Every member of the lead cast (including Danny Burstein as Herbie and Jordan Tyson as June) is excellent, and the chemistry between them feels highly realistic, even in the stylized form of a musical about vaudeville.
This production is the best conceivable adaptation of the 1959 musical (as opposed to the current avant-garde revival of Sunset Boulevard, which I would call the best inconceivable adaptation). It’s the Gypsy you know and love, but with casting and directorial flourishes that nod to the way Black culture has shaped show business. And an emphasis on the notion that Black people have not received adequate monetary compensation for those contributions. "
"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 an aspiration to higher class, and they come together in McDonald’s unique voice; it’s like a physical manifestation of Rose’s will-to-fanciness. Yes, it’s an unconventional sound for Rose. 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 fall into her upper register are not delicate; they throb with intensity and grandeur. Some people, Rose sings dismissively in her first song, have “the dream but not the guts.” McDonald’s voice has equal parts of both, and she uses it to deliver an unforgettable star turn. "
"Those familiar with the beloved score, with music by Jule Styne and lyrics by Stephen Sondheim, may need some time to adjust to Ms. McDonald’s golden-hued soprano in songs written for a vastly different voice. But her assured musicality and dramatic force should put to rest any qualms. When Rose expresses in clarion tones her desperation to forge showbiz careers for her young daughters June and Louise—in the classics “Some People” and “Everything’s Coming Up Roses”—Ms. McDonald deploys her powerful, smoky lower register to emphasize the ferocious ambition that drives her.
Ms. McDonald is the first black woman to play Rose on Broadway, and her daughters are also played by black actors: Joy Woods as Louise, who becomes the stripper Gypsy Rose Lee, and Jordan Tyson as her younger sister, June, initially the focus of her mother’s obsessive attention. But the production does not notably alter Arthur Laurents’s book—it is unlikely that his estate would countenance many changes—and Mr. Wolfe’s staging can hardly be described as radical; although the production’s pacing could be tightened, he’s too intelligent to impose a heavy directorial hand on material of such durable stature."
"Despite its indestructible book and score and several strong performances, the show Wolfe has built never quite hangs together. Its gestures at times feel stock, at other times scattered, and as in much of Wolfe’s work with Loquasto, there’s a sense of getting stuck somewhere between worlds. "
For the non-fans of this production, I think Holdren's review is the one to read. She praises Audra, but discusses at length and with a lot of examples how much of the rest doesn't work.
Somewhere Gavin Creel is reading these reviews right now with us, and he has that big, infectious smile on his face that we all love.
Did Sondheim have any say in the approach of this revival before he died? I recall Tom Kirdahy saying somewhere that this production was many years in the making.
It's interesting how these reviews differ from people on this board like me who absolutely disliked this show. I think this is why reviews have become increasingly less important when it comes to Broadway. Last year, The Outsiders was much more of a crowd favorite than a critics darling.
djoko84 said: "It's interesting how these reviews differ from people on this board like me who absolutely disliked this show. I think this is why reviews have become increasingly less important when it comes to Broadway. Last year, The Outsiders was much more of a crowd favorite than a critics darling."
The stark difference is really surprising. I expected the majority of reviews to be good, but I did think reactions to the production would be more mixed. These reviews are a great Christmas present to everyone involved.
djoko84 said: "It's interesting how these reviews differ from people on this board like me who absolutely disliked this show. I think this is why reviews have become increasingly less important when it comes to Broadway. Last year, The Outsiders was much more of a crowd favorite than a critics darling."
In this case, these reviews and raves for Audra seem like they could drive box office numbers far more than any negative word of mouth.
This reminds me of the Sweeney Todd reviews where I thought the production was a bit meh but the leads excellent. Well, if these critics are loving this production I'm happy for them it only helps the Gypsy 'brand' (i.e. this is certainly no longer the last revival now) and I can agree with them that Audra delivers.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000