GYPSY Previews — Page 13

seeseveryshow2 said: "So, are they using a real lamb or a stuffed animal?"

Stuffed lamb.

Jordan Catalano said: "Is there entirety of “Rose’s Turn” still being done on the passerelle?"

Friday night, yes. Unsure about today

Rose begins crossing the passerelle around “you either have it —or, you’ve had it!” (I believe) and is center-passerelle by “momma’s gonna show it to ya” where she stood for the remainder of the number.

Ensemble1732230750 said: "Finally, is nobody talking about how awful the curtain call is?! Surely they will restage this?!"

It was discussed after the first preview. I’m sure it is on a work list but not a #1 priority.

BewareTheUndertoad said: " 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.

Umm bffr. I'm not sure what possessed you to say that I was reaching by bringing up misogynoir. Unless you're a black woman, I don't want to hear you saying when you think misogynoir discussion is appropriate. We're talking about a white passing woman's experiences compared to woman that has darker skin. Saying there's no space for it in a production about two black women who experience life differently based on proximity to whiteness is absurd. If you followed what I said, I point out the stark difference of the way in which June can achieve success as opposed to Louise. June's phenotypical traits allows her the privilege of being viewed as harmless and chaste. She doesn't have the same expectation to lead with her sexuality. The further away from whiteness you are in our society, the more you're expected to sexualize yourself. In this production, watching Louise be discarded, and only given the chance to find success through men leering at her while she strips should be extremely upsetting. Her rolling around, and being overtly sexual in the Garden of Eden, is exactly the representation of misogynoir. She's the snake that represents sin and seduction. That's what they expect us to be.

The moment Louise takes the job to perform in a burlesque house is so key, especially in this production. This is the moment when Louise accepts the fact that this is her fate as a dark skin black woman and Rose desperately wants to avoid speaking it out loud because it's what she experienced, but without any sort of success.

With all that said, what I really think there isn't space for is the ending of the show. Generational trauma that's heavily shaped by abuse doesn't play out that way without serious intervention. The time frame of the show makes zero sense for the ending. This isn't a happy story, especially not this production.

🗣 Also lemme make this clear for the people complaining about Audra in this role. If you feel hit by this then you're the problem. Do not go into this production if you want to see a white woman belt her way through book and lyrics written in a time when segregation was in full swing. (Also learn what belting is. Yall think Patti is out her belting everything down, but even she corrects people and tells them its always a mixed voice.) In the "mixed voice", it can resemble full belting because of resonance. Classical training demands that you understand resonance. Remember, in an opera house you're goal is to sing over a large orchestra without mics. Audra's vocal style allows more emotions to be explored and constant belting doesn't lend itself to that. Hearing Audra sing this score is magical. To be frank, they should be leaning more her style instead of this strange negotiation of the shows typical presentation. One of the issues that could take a while is the relationship between Audra and the orchestra. The conductor was not following her at all, and if that continues she will never feel comfortable with the music. It's like deciding to stop vamping before the artist is ready to start a song.

Havent seen this, but its fascinating to me (even setting aside the unhinged soap box posts) that people seem frustrated that the show doesnt address race more. It certainly would be cool if Wolfe and Co found ways to explore that subtext given the actresses playing these roles but

can we not accept that SOME works have room to bend and stretch and some do not? Oklahoma! was a revelation because the script didnt have to change one ounce for Fish to find such depth and newness within the text. But MANY shows are not capable of that--- you see the effort to rewrite Sunset Blvd happening at the St James, and we can disagree over whether that works or not, but its a choice, and it certainly isnt without its holes/flaws. WANTING this production to explore race is very nice but if the book and score don't offer room for it, lets be grateful theyre letting subtext do its thing.

Few more thoughts after last night -

Act 2> Act 1

Woods comes into the role as it develops/deepens.

Lesli Margherita is going to get nominated and may win the Tony for Featured.

Audra probably won the Tony with Rose's Turn. Much more Bernadette than Patti which works will with how she plays the prior moments.

A huge standing ovation afterwards (seemed very genuine but after Sunset earlier this season, I wonder if there are plants/prompts and this is a new/renewed tactic.)

I'm curious to go back after/later on in previews. A very fitting two-show day with Hills of California.

Updated On: 11/24/24 at 09:58 AM

Skip23 said: "Does no one care how miscast Audra and the Gypsy are?"

one of them is miscast, and it's surely not the one who has six Tony Awards.

Took me some time to gather my thoughts but I was blown away by what I saw last night. I have not been able to stop thinking about it.

Now, to be sure, it wasn’t a polished performance and there are numerous things that need to be worked out. I personally found the sound design extremely lacking and frustrating. I was mid-center orchestra and thought everything sounded quiet, including the largest broadway orchestra that could barely be heard. And I certainly hope they figure out how to get people in the theatre faster as having people talk over the overture and entr’acte was not fun.

I would also agree that Audra’s voice will either work for you or it won’t. If you go in expecting Patti, you won’t walk out happy, but this was my first live Gypsy and I thought she absolutely nailed it. The dressing room scene was devastating and, if only it was a little louder, her Rose’s Turn was worth the price of admission alone.

Joy, to me, was the other standout here. I think from the moment she sings Little Lamb I was sold on her Louise. I would agree that fleshing out the few middle strips would benefit her characterization into becoming Gypsy Rose Lee, but everything is there for something special.

I wish I could come back to see this after it opens, but really loved what was there last night.

corninthesky said: "I would also agree that Audra’s voice will either work for you or it won’t. If you go in expecting Patti, you won’t walk out happy, but this was my first live Gypsy and I thought she absolutely nailed it."

I do tend to agree that Audra’s voice will either work for you or won’t, but I do think it warrants some conversation about this score in particular (and I’m not saying you disagree, cornerinthesky). For me, I certainly went in knowing the score and knowing Audra - I wasn’t expecting Patti LuPone, and I was curious how she would negotiate the score across her impressive, but certainly different, range. At the first preview, I didn’t walk away thinking it was a particularly successful way of delivering the score - it actually exacerbated the duality I felt from Audra’s performance: the lack of a fully integrated character that carried over to her singing different sections of different songs in different parts of her range. It felt scattershot.

I also think it’s hard to divorce the way the score was written from the way the score is being delivered in this production. Unlike Company, where the score has been written for a different gender with a different range and adapted for a female actress, Gypsy was written for a specific actress with a specific voice. The songs are modulated in a way to make use of that range, and climax in a certain register. Rose’s range is an extension of her character - a way to musicalize her determination, her rail-roading, unbending stubbornness that eclipses every other character. It comes across different with a soprano singing the songs in those ranges. It takes out some of the excitement and thrill.

I understand why so many people are happy with this portrayal - Audra is fantastic and seeing her in this role is an unexpected treat since she doesn’t fit our expectations of the kind of singer who should play Rose. But I wonder how everyone would be reacting if Kelli O’Hara was in this role. Or if Cynthia Erivo played Cunegande - I’m sure it would be fascinating, but that’s not the score as Bernstein intended.

I don’t think it’s just because everyone wants “a white woman belting” and can’t imagine a black woman as Rose. I thought of Tonya Pinkins multiple times during my performance - and in 15/20 years Cynthia would be thrilling! It’s more nuanced than that.

And for the record, I think the liberties Audra and the orchestra seem to be taking with phrasing and rhythmic patterns is one of the more fascinating aspects of reworking the show from a different racial perspective. Not what Styne wrote, but very similar to what Pearl Bailey did in Dolly.

Updated On: 11/24/24 at 02:12 PM

TheOnlyOne, I don’t disagree with the content of what you’re saying, but it does seem like you’re responding to criticism that isn’t there…

Saying “I didn’t get misogynoir from xy scene” isn’t the same thing as saying “that scene does not & cannot facilitate a conversation on misogynoir.” And while I appreciate hearing other perspectives on how some DO see a conversation about misogynoir in that scene, it shouldn’t be treated as gospel that it’s 100% clear in the production. The fact that one had to describe & explain how & why that scene was a critique on misogynoir kind of goes to show that it’s not self-evident in the scene as of now. But it’s early previews! Things are still being worked out and that sequence in particular has been called out for being very messy.