GYPSY Previews — Page 12

I attended the second preview and had the added fortune of sitting second row. I’m still reeling from last night’s performance, which was largely a triumph and tour de force from McDonald.

It felt like she put every ounce of herself into the performance and left nothing off the table. Rose’s Turn stopped time. I felt like I ran a marathon after the night, and I don’t know how she gives this performance 8x a week without collapsing each night.


Reading some earlier comments, I get the impression that McDonald was over compensating for an off night last night.

The Strip needs some work. It’s not a believable transformation right now and much of the timing is bumpy.

Updated On: 11/23/24 at 10:29 AM

Michelle Obama was supposedly at the 2nd preview last night.

(The Obamas’ production company, Higher Ground, exec-produced George C. Wolfe’s RUSTIN, and Audra has crossed paths with the Obamas a number of times.)

binau said: "But I’m not sure if that is quite as entertaining. Kind of like the idea of Kelli O’Hara in Hello, Dolly maybe."

Off topic but I'd quite like to see Kelli or Audra in Hello, Dolly. Probably more than I'd like to see either of them in Gypsy. Audra is one of the funniest people working in the musical theatre today and we haven't seen that on stage in close to a decade.

Was there last night (rush ticket in the house left box closest to stage, anything all the way SR or too far US was audio only, when the faux proscenium slid in view was pretty obstructed as well)

It's wild to read people's takes on first previews, and inherent biases/preconceived notions run rampant . . . if you're so certain who Rose is and what she should be then why go see it at all? And all the vocal takes . . . my god.

The score sits thrillingly in Audra's voice. Is it what you've come to expect from the past 70 years? No. Does it work? If you're smart enough and willing to go along with the ride. The way she has to negotiate her ranges, her break, when she mixes versus lets her full belt through, when she pops into full head voice (and even then she is not "classical soprano" as has been thrown about here endlessly just because you've been told that strident straight tone is the epitome of vocal styling these days). There's a jazziness to her take that is truly refreshing and moments of the score resonate in ways they haven't previously. Her vocals are supported by her characterization--unlike so much of the bland, dead, perfect vocals on Broadway these days. They're a little meaty and rough when they need to be.

Her characterization is so full bodied. The code switching is so subtle, the race issues are so subtle (except for the blonde moment). She looks like she is throwing her whole self into it. She knows she's fighting what anyone would call a losing battle and yet she fights it with all her might, against all odds. Her Rose is truly tilting at windmills.

Danny Burstein is just what you'd expect--and I'm saying that as a good thing.

Jordan's vocals are insane and she fares mostly well in her scenes. Wasn't the biggest fan of the direction of the scene leading up to If Momma Was Married. Her mic went out during the Act and it was refreshing to hear an unamplified voice on Broadway. So much of Broadway is so terribly designed to just be a wall of sound, and that is thankfully not the case here. Some sound issues of course but the amplification level and blend should be the new gold standard. Mind you, I was again in the box closest to the stage so the orchestra levels were perfection (there was also quite a bit of noise in the wings though)

Joy's Little Lamb was the most beautifully song version ever. Louise is such a tricky character because she's so emotionally and mentally stunted--those who said she fades into the background don't realize that that's the point for the first part of her arc. Unfortunately I couldn't see any of the actual stripping moments, I did miss the dialogue in the strip sequence and the Tribute to the Garden of Eden was awful. But her physical transformation both design and acting wise was handled very well, with some subtle commentary on the roles of black women in the era (although I think it's reaching to bring up the mysogynoir topic-NOT SAYING it's not relevant but there's no space for it in the material). She looks STUNNING post transformation.

The choreography is in the "impressive but not good" camp--I like the language of most of it, it's just too overchoreographed and it's very messy at times. All I Need is the Girl is bad--you've got dialogue coming out of his mouth describing what the routine is and the routine does not relate to the words coming out of his mouth, it peaks before Louise joins in, it just did not work at all for me--but the audience hooted and hollered so I'm sure nothing will be done.

Lesli Margherita makes a meal of course. Lili Thomas and Mylinda Hull are fantastic as well.

The physical production is all over the place. And I couldn't see a lot of the scenery from the box seat, admittedly. Costumes have the usual issue of looking like they're made from polyblends and whatnot, materials that didn't exist back then and don't look aged and worn and depression era.

I can't wait to go back around opening and hopefully around closing and see how it all settles.

JudyDenmark said: "Real question: I have tickets to see this with my visiting parents next Sunday 12/1. When we bought them, my parents were skeptical about seeing a show in previews but I said “yeah it’s early in previews but it’s Gypsy and it’s not like they’re going to rewrite it, and Audra’s a pro.” I clearly did not know about George C Wolfe’s preview process.

None of us are particularly big Gypsy fans (or particularly big Audra fans, though of course deep career respect), just wanted to see it as a must-see of the season. I know it better than them having seen theNYC productions over the last 20 years, but it’s nothing I’ve dug too deep on. It feels like so many of these early comments are from people who have analyzed the show in 40 different ways for their whole lives and have a very clear opinion on what Gypsy should and shouldn’t be… so maybe our lack of deep Gypsy knowledge is a good thing?

Basically, is it worth keeping these tickets for next weekend when I keep reading “well they’ll get it together a month from now”?

(Edit: we’re also seeing Death Becomes Her and Maybe Happy Ending before it that weekend)"

Many of those comments are coming from people who said they heard a low quality bootleg on TikTok.

The show is in excellent shape. You'll be fine.

it is already one of the best things on Broadway and will only takeoff from here.

Appreciate the reassurance, thank you! Looking forward to a great trio of shows next weekend. At the very minimum as a Lesli Margherita fan these comments have me very pumped for the strippers haha.

OhHiii said: "Again. People are allowed to disagree with others on this production. If you like it and find that it works, great. Just as many people feel it doesn’t. Both are valid."

It works. Audra is giving the best performance of the season. A performance that might not be a carbon copy of itself every single night.

ljay889 said: "Last nights performance and the reaction reminds of the first preview of Sweeney. Another first preview that had several issues, and divided audiences, but they used the preview period to strengthen the production, which led to excellent review. I think the same could happen with Gypsy, but I don’t see how they can make the sets more attractive, at this point."

Having seen the first and final Groban/Ashford performances, I'd say in that production, whatever you liked or disliked, it was all on the stage from the get-go. Quite an achievement. Only the level of mugging changed from day to day.

Intermission now. The foundation is absolutely there and I have no doubt that this will become truly special. But for gosh sake, there needs to be serious work done to the sound design!

Caveat. : First live Gypsy.

Agreed with above as of now. The foundations are very strong but can tell there’s work to be done/choices to be figured out.

Audra sounds good but she does fluctuate depending on the number - may be the approach or may be they’re figuring out vocal stuff (across the board?). Quite good in book scenes especially right before the break.

Feels like a very classical Gypsy.

Updated On: 11/23/24 at 09:35 PM

So, are they using a real lamb or a stuffed animal?