GYPSY Previews- Page 26

[MusicalGuy3]

Posted: 12/18/24 at 10:03am

Went back last night. The show is in fantastic shape. Preview period was used wisely IMO. Hard to believe we are getting two career defining /Tony worthy performances right across the street from each other.  What a time for Broadway!

PS: For those that like the overture with the houselights down, your wish has been granted. 

[Rentaholic2]

Posted: 12/18/24 at 10:38am

People seem to be all over the place on this production, so I'm really curious to see what the reviews look like.  I'm surprised that most people seem to agree the strip doesn't work - that number strikes me as one that would be pretty hard to screw up and can be thrilling when done well.  

[ErmengardeStopSniveling]

Posted: 12/18/24 at 10:43am

I'm verrrry curious about what Jesse Green thinks.

He will probably like Audra regardless, it's everything else that is a big question mark.

He spent a lot of time with Arthur Laurents in 2008-2009 doing a profile for NY Magazine. He may also find this production to be a breath of fresh air following his hatred of SUNSET. Who knows!

I'm also pleasantly shocked by the box office in previews so far. I know it's early and musical revivals are often frontloaded, but I didn't think it would be frontloaded THIS much.

Updated On: 12/18/24 at 10:43 AM

[SonofRobbieJ]

Posted: 12/18/24 at 10:54am

Finally saw this last night. As I was walking into the theater, I overheard someone say to their date, 'The energy in this theater is palpable.' And it was.

As noted, the lights dimmed to half, the conductor was hit with a spot as he greeted the audience with open arms and launched into the overture which sounded fantastic. 

I'm a little flummoxed by some of the critiques, although perhaps the things noted earlier in the thread have been adjusted/ironed out. The set in no way looks cheap. This is the most expensive looking Gypsy I've seen (Daly, Peters and Lupone...thought I loved the sparseness and incredible lighting of the Mendes/Peters Gypsy). Loquasto's use of early 20th Century advertising iconography was smart, juxtaposing a promise of America that would never be delivered the people we were spending time with.

Although the switch from young, black newsboys to the older, white newsboys wasn't as nearly as iconic as the Robbins special effect, it was devastating for the reasons Ohara posted just ahead of this post. Removing the Abe Lincoln hat from Louise and putting it on a white guy, then making her wave an American flag, telling her to keep it in front of her face was absolutely heartbreaking. Without changing the text, the colorism the show is exploring is truly shocking in some ways. To watch a dark-skinned mother dote on her light-skinned daughter understanding why she would be the star while making her dark-skinned daughter feel ugly was just A LOT. But the show was able to handle it. 

The entire supporting cast is excellent, but I want to give Joy Woods her flowers here. She is the first Louise I've seen since Crista Moore (and that was 35 years ago) to truly delineate the arc from awkward child to scintillating stripper. I thought Blanchard was a good pre-strip Louise and Benanti was a great Louise from the strip on, but both had issues with finding the opposite sides of their character. Woods is sensational and it is amazing to see her take on the mantle of a Josephine Baker during the Garden of Eden sequence. And I liked the sequence...tacky, campy...just exactly the right kind of wrong. Her dressing room scene with Audra was thrilling. She could still slip into the mien of the child she was but fought mightily against it to be viewed as the woman she is. Plus...she looked incredible in her Gypsy Rose Lee costumes.

Danny Burstein is a great foil for Audra. He's a very traditional Herbie, but I think that is necessary. He's a rock and Rose is a hurricane. 

And speaking of Rose...this is simply the best acted Rose I've ever experienced. Instead of playing the monster, she played a woman who did monstrous things. You understood why she did it, but you can't ever forgive her for making those choices. It's a warm, funny, frightening and, ultimately, heartbreaking performance. 

As for her signing, it was exactly as I expected. I think if they did the songs without the key changes, she would have probably been able to belt the whole thing. But they made a very specific choice to let Audra explore the most thrilling portion of her voice...what I call the 'Old Maid' voice (go and listen to the end of Old Maid from 110 in the Shade and you'll know what I mean). No other actress I know can make this vocal mix sound like such a dangerous, high-wire act. And it worked for me. I definitely understand why it might not work for others, but the idea that she 'can't' sing the role is one of the silliest things I've ever read on this board (and I've been around since the beginning). And if I'm being truly honest, I've never heard a great Rose vocal live. Tyne was...Tyne. Bernadette had to cut notes short and her diction could be spotty and, the night I saw Lupone, she had a very difficult time negotiating the score. It seemed a complete strain on her and there were a few pitch problems throughout. Were there a few moments of me raising an eyebrow when she flipped into head voice? Sure. But does her natural instrument allow for remarkable new colors for songs such as You'll Never Get Away From Me and Small World? Absolutely. It was a titanic performance (in the Greek gods kind of way and not the sinking ship). Just watching her rip the note from June into teeny tiny pieces was harrowing. 

I left the theater last night more energized than I have in quite a while. It's just marvelous. 

Updated On: 12/18/24 at 10:54 AM

[Markie27]

Posted: 12/18/24 at 11:19am

What a marvelous post sonofrobbie!  Now I really can’t wait watching it next week!  I have only watched the Bette Midler version and haven’t yet witnessed this live on stage.  I’m glad you were able to give us full insight on the different Roses of the past.  I was blown away by Audra’s acting on the TV special interview.  And admittedly I was disappointed hearing the bootleg of Rose’s Turn.  Thank you so much for putting the vocals into perspective.  Love your post!

Updated On: 12/18/24 at 11:19 AM

[ChairinMain]

Posted: 12/18/24 at 11:22am

MusicalGuy3 said: "Went back last night.The show is in fantastic shape. Preview period was used wisely IMO.Hard to believe we are getting two career defining /Tony worthyperformances right across the street from each other. What a time for Broadway!
 

I like to imagine Audra and Nicole go out onto the fire escape between shows and just glare at each other like they're in a Spaghetti Western. 

[SonofRobbieJ]

Posted: 12/18/24 at 11:30am

Markie - I think you still may be let down by the vocals. This is going to be the most divisive aspect of the show for a lot of people. And I absolutely get why it just won't work for some people. I can only tell you why it worked for me and, for the few moments it didn't, that her entire performance was enough to make me forget about those quibbles. 

[jkcohen626]

Posted: 12/18/24 at 11:49am

Got rush tix for tonight. I'm in the Boxes (specifically Box D). Has anyone sat there yet? Curious what the view will be like. 

This show is clearly a bit polarizing. So, I'm really glad to be seeing it in its final state. But, before reviews come out. 

For anyone interested in attending opening night, they did appear to be selling tix for tomorrow night at the box office. 

[Owen22]

Posted: 12/18/24 at 12:02pm

I was there last night as well.  Audra is so fierce.  So oddly lovable, Such a force. My fave Rose since Tyne. Like Tyne, there is a warmth coming off her that sets her apart from the wonderful ladies that came in between. Still a monster, but she LOVES HER DAUGHTERS!!  Yes, her act closer numbers sound different than previous presentations (but who cares when our greatest singing actress is the one singing!!). And can we talk about Small World and You'll Never Get Away From Me????  The best.  THE BEST!!!

I don't love this production, but love a lot of the actors. Except Joy Woods. Why was she cast? There are so many actresses of color who do not sing that well that could have mastered the role and kept up with Audra.  Joy's talent is her voice. And Louise is basically a non-singing role. My theory, my fear... she was cast because there's this inexplicable buzz about her  I think she is probably overrated and cannot stand the pressure on her, which has been building for some time. I actually felt sorry for her.  Her acting is wooden and Wolff has given Louise this weird arc, that in the first act she is almost autistically infantalized, perhaps by her mother's disregard and her sister taking up all the energy.  But all of a sudden in Act 2 she's this mindful, intelligent, practical young woman. That transition would be hard for anyone, let alone someone with very limited acting capabilities.

As stated, the specific race related theme of Rose replacing the young black boys (and Louise) with white teens (the only way to get on the Orpheum Circuit) is all there really is of the commentary. If a darker skinned girl can't be in a popular mainstream Vaudeville kiddie show, how could she EVER play burlesque during Jim Crow??  I suspect they tried different things in rehearsals and this was all that stuck, as the original book would not support what Wolff wanted to do.

I hate to report this is not a great Gypsy. But I will remember Audra's Rose for the rest of my life.

Updated On: 12/18/24 at 12:02 PM

[Fordham2015]

Posted: 12/18/24 at 12:15pm

jkcohen626 said: "Got rush tix for tonight. I'm in the Boxes (specifically Box D). Has anyone sat there yet? Curious what the view will be like.

At least you're not in Box 5! Ba dum tiss

[CurtainsUpat8]

Posted: 12/18/24 at 12:15pm

I enjoy reading Show-Score. Gypsy has a score of 77%, which is pretty low on that site.  There are only 72 people who wrote something. It seems odd to me that so few people would be writing. I also notice that sometimes the number of people writing reviews... goes down....  I am not sure how that happens. There are also a whole day when the number doesn't rise at all.
It seems to me, and of course I have no proof other than what I have observed, that the site is holding back reviews maybe. I am not trying to creat a big scandal at all. It's not, but the fact is the number is pretty low, it has gone backwards, and there can be a whole 24 hours when no one puts a post up.  Seems weird with this show that so many people are talking about.

Updated On: 12/18/24 at 12:15 PM

[KJisgroovy]

Posted: 12/18/24 at 1:47pm

I've been sort of astonished at the mixed reception this has received but I do recognize that folks have different reactions and I'm glad I've gotten to read so many that are well-written and well-considered but this take is wild: "the specific race related theme of Rose replacing the young black boys (and Louise) with white teens (the only way to get on the Orpheum Circuit) is all there really is of the commentary."June's face is painted GHOST white. She's not just light-skinned, she's in whiteface. The whole act looks different in this new light. The act is no longer unintentionally bad, Rose is doing everything she can for the act to be "white" and inoffensive.

I saw an early preview, but it seemed like there was a bit of minstrelsy in Tulsa's dance. After seeing the act and it's over-enthusastic dancing... seeing Tulsa dance felt like seeing a bit of cultural appropriation. 

The final strip is set in a jungle, echoing Josephine Baker and her banana skirt. This Gypsy has found success by embracing her exocticism. The whole number would be offensive if it wasn't intentional. Instead we see Louise claim her full power within a stereotype. Unlike Rose, she knows how to adapt herself to meet expectation.

And for me, much more so than the replacement of the young boys, the most stunning moment was when the little boy in the porter's suit brings out the podium at Gransingers theater. We see him and then we see Rose see him. This is what she is trying to protect her children from. Already this boy has been turned into an invisible member of the help. 

This whole musical is sort of pursuing the American dream but finding yourself locked out as your children succeed. Isn't that what we see at the end? "I was born too soon and started too late" The Rose we see is supremely talented and very sexy. She very much could have been a star if racial ideas had shifted just a touch sooner. "When is it my turn????" A question she's not just asking for herself but every supremely talented, capable and beautiful black woman who "really would have been something."

And there were many, many other small moments where the concept felt fully realized to me. 

Oh well. Different strokes as they say. I'm grateful I got to see it. 

 

 

[DanS3]

Posted: 12/18/24 at 2:03pm

I think it's safe to assume USA Today will post a great review of Gypsy since it's #3 on their Top 10 shows of 2024.  https://www.usatoday.com/story/entertainment/music/2024/12/18/best-broadway-shows-2024/77017200007/

[Owen22]

Posted: 12/18/24 at 5:09pm

KJisgroovy said: "I've been sort of astonished at the mixed reception this has received but I do recognize that folks have different reactions and I'm glad I've gotten to read so many that are well-written and well-considered but this take is wild: "the specific race related theme of Rose replacing the young black boys (and Louise) with white teens (the only way to get on the Orpheum Circuit) is all there really is of the commentary."June's face is painted GHOST white. She's not just light-skinned, she's in whiteface. The whole act looks different in this new light. The act is no longer unintentionally bad, Rose is doing everything she can for the act to be "white" and inoffensive."

Maybe I was too far back but I didn't notice that June was wearing white face. I did notice the porter and though I understood it was probably intentional, I did not see Rose regarding him so I thought it was just a sort of lame underlining. And I think by the time the Minsky's number started I was just too shocked that the director could imagine a black woman ever headlining a Minsky's show that the admittedly racist production number didn't even register.  And maybe the rest of your points were directorially intentional...but they really don't make much sense. Even thematically. At least to me.

[pagereynolds]

Posted: 12/18/24 at 5:11pm

Owen22 said: "KJisgroovy said: "I've been sort of astonished at the mixed reception this has received but I do recognize that folks have different reactions and I'm glad I've gotten to read so many that are well-written and well-considered but this take is wild: "the specific race related theme of Rose replacing the young black boys (and Louise) with white teens (the only way to get on the Orpheum Circuit) is all there really is of the commentary."June's face is painted GHOST white. She's not just light-skinned, she's in whiteface. The whole act looks different in this new light. The act is no longer unintentionally bad, Rose is doing everything she can for the act to be "white" and inoffensive."

Maybe I was too far back but I didn't notice that June was wearing white face. I did notice the porter and though I understood it was probably intentional, I did not seeRose regarding himso I thought it was just a sort oflame underlining. And I think by the time the Minsky's number started I was just too shocked that the director could imagine a black woman ever headlining a Minsky's show that the admittedly racist production number didn't even register. And maybethe rest of your points were directoriallyintentional...but theyreally don't makemuch sense. Eventhematically. At least to me."

There was absolutely no white face happening a few weeks ago. I was in the 2nd row.

[OhHiii]

Posted: 12/18/24 at 5:13pm

June is absolutely not in white face in this production...

[BrodyFosse123]

Posted: 12/18/24 at 5:19pm

OhHiii said: "June is absolutely not in white face in this production..."

[iluvtheatertrash]

Posted: 12/18/24 at 5:21pm

Brody, you've shared an image of a light-skinned black actress under the lights in a white coat. 

I was a few rows from the stage. Jordan is not in white face. The suggestion she is, frankly, is ridiculous. 

[KJisgroovy]

Posted: 12/18/24 at 5:40pm

From seat E1 on 12/1 she was wearing clown white foundation. You could see a completely different color on her neck. 
 
It could have been just that performance. 

[Kad]

Posted: 12/18/24 at 5:45pm

Wolfe in other productions has featured black face, so it’s not so inconceivable that he may have tried out white face on June at some point. Though I would expect him to do it more clearly and pointedly. 

Updated On: 12/18/24 at 05:45 PM

[OhHiii]

Posted: 12/18/24 at 5:49pm

Right. If they were to do that, there would be zero question. It would be a clear choice.

[ChairinMain]

Posted: 12/18/24 at 6:19pm

There is no whiteface in this production and as far as I know never has been. Wolfe doesn't need it to make his point. 

[SisterGeorge]

Posted: 12/18/24 at 7:15pm

Everyone talking about Audra's intensity makes me think maybe the front row of the center section might be fun. If so, given the passerelle, would smack in the center or end of the row be better. Otherwise back in row L center? I'm guessing I only have one day left to decide. Please advise.
Thank you!
 

[MusicalGuy3]

Posted: 12/18/24 at 7:45pm

Sat in the front row a few weeks ago.  Like being in the front car on a roller coaster. Everything feels a little more heightened.  Stage is not especially high.  

[mlledir]

Posted: 12/18/24 at 10:45pm

I loved Orch Center L for this production. The rise of the audience seats is steep enough that it felt like they were playing directly to us. Some of the best seats I've ever had.