GYPSY REVIVAL ASAP! — Page 2

Dollypop makes a good suggestion in his review -- perhaps this could replace the concert version of COMPANY that the NY Philharmonic had planned as a special event in the spring, but cancelled when the revival was announced. It would be an instant sellout for them, give more people a chance to see it and perhaps could be preserved at least as a CD, if not a DVD.

And Laurents couldn't stop it.

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It would be nice if the Kennedy Center produced this show with Patti as the lead. I'm not sure how far in advance they know what shows they're doing.

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GYPSY REVIVAL, PLEASE, PLEASE, PLEASE !

If the NY Phil replaced Company with Patti in Gypsy that would probably become the NY theatrical event of the year. I think it's really a shame that Laurents is so incredibly bitter and so grudge-heavy. Though I've gathered from reading excerpts of his megalomaniacal autobiography and interviews that he really doesn't seem to admire too much beyond his own body of work. (Can't wait for the revivals of Hallelujah Baby! & Nick & Nora, Mr. L)

(I seem to recall reading that he was also highly critical of at least some of the Sondheim-Prince collaborations in their original productions; can anyone back me up?)

By the way, was anyone else worried about his idea for bringing West Side Story into the 21st century?

~Kev

By the way, was anyone else worried about his idea for bringing West Side Story into the 21st century?

Exactly. It sounds like Rose saying, "I had a dream about a BRAND new act..."

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Of course there will be no cast recording from Ravinia, though the internet is already flooded with other "recordings."

NY PHIL is doing GUYS AND DOLLS instead of COMPANY. It is too soon for even a concert version of GYPSY in New York. But take a couple of deep breaths guys: Patti can easily play Rose for another half a decade: She'll do it again - somewhere - just probably not this season.

P.S. I'm pretty sure Laurents couuld prevent LuPone from doing a concert version at NY PHIL if he really wanted to. Again, he could simply refuse to grant permission without casting approval.

Updated On: 8/15/06 at 11:34 AM

Well, nobody has stepped forward with an offer to take LuPone to London or New York or Phoenix or anywhere else at this point. Given Laurent's refusal to let her do the show on previous occassions, I would imagine LuPone is just relieved and elated to have finally had the chance to play the role. The reviews have probably been the icing on the cake. I doubt she is sitting around right now, though, fuming because she can't do the show on Broadway next week.

Like I said - just give it time. She'll do the show again. LuPone in the meantime has lots of other projects on the horizon.

Updated On: 8/15/06 at 12:57 PM

Gypsy--tell us what you remember of seeing Merman live. Sondheim has said that Lansbury could never be as good in the role as Merman because Lansbury was "too intelligent." Merman's Rose seem dumb or unintelligent? What were her Mama/Mama/Mama's like? How did she handle the bowing at the end of Rose's turn? What comes to mind when you think of her performance?

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I'm just going to go out on a limb here and suggest that an important part of the magic of Patti @ Ravinia was the very fact of the Ravinia Experience. Limited run. Minimal rehearsals. Minimal, almost concert style staging. The idyllic, pastoral, outdoor setting, the spicy king-pao chicken in the spinach wrap. For years, the Audra/Michael/Patti events have been small, magical, effervescent gifts that one is lucky enough to experience and savor for years to come.

Was there extraordinary talent on stage? Yes. Is it the role that Patti was born to play? Quite Possibly, yes. Will the day come for a full-on Bway revival with Patti as Mama Rose and Idina as Louise and Norbert as Tulsa and omigod Adam Pascal as Miss Mazeppa? No doubt. But to clamor and yell for DVD's, CD's, Podcasts and transfers to the Ukranian Fellowship Hall in the East Village (Where Arthur Laurents has no pull) seem to me to miss the point of the Ravinia magic. Get on the mailing list and pray for "Merrily" next year.

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I'm within walking distance of the Ukrainian Fellowship Hall. I hope it does transfer there.

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Updated On: 8/16/06 at 08:43 PM

Whether the NY Phil ends up doing it or the SF Philharmonic does it, it's only a matter of time before there's a Concert staging with patty that will be recorded for CD and DVD. It's a no-brainer money maker and Patti, of all people, would be happy to have her performance memorialized.

I can tell you which symphony orchestra will NOT be doing it- The LA Phil is simply not capable of doing musicals justice. Despite having Paul Gemigniani conducting, their performance during the Sondheim Hollywood Bowl tribute was lousy. They are wonderful at playing classical music but they have no understanding of musical theatre.

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To:Paljoey
You are asking me to go back over 45 years ago so I can only touch on some of the things that stand out about seeing Ethel Merman on stage in GYPSY. First, she had that hard to define "stage presence" that only a hand full of performers have had; Richard Burton and Robert Preston are two others that come to mind. You simply could not take your eyes off her; she owned the stage.There was never anything unintelligent about her performance. Her singing was clear and always true to pitch. I remember her singing "Everything's Coming Up Roses" with great emotion, beating her hands on her chest as she sang,"Momma is gonna see to it". In "Rose's Turn" she purposely stumbled on the phrase "Momma...Momma...Momma's got to let go."
This effect is clearly heard in the OBC recording. At the end of "Rose's Turn" I don't remember her bowing as much as her just standing in sort of a stupor as the audience went wild with applause. It was the first chance of the entire show that the audience got to show its approval without the show immediately going into its next scene.
At any rate, I would love to see Patti Lupone do the role, as the "Merman of the 21st century" as someone earlier has described her.

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