With regard to having a brief scene of dialogue following "Rose's Turn", it is important at least in part due to some advice which Oscar Hammerstein gave to his protege Stephen Sondheim during the writing of the score to GYPSY. I read about this in a book titled BROADWAY SONG AND STORY where playwrights, lyricists and composers discuss their hits. The symposium on GYPSY took place with Laurents, Sondheim and Styne, with Terrence McNally as moderator, c. 1985 by the Dramatists Guild. It makes for fascinating reading.
Originally there was going to be a ballet near the end with Rose seeing her past with nightmare figures. This ballet was only cut during the rehearsal period when it was considered too pretentious and not in keeping with the rest of the show. Instead, "Rose's Turn" was written, with a nightmare version of variations of songs the audience has heard before. Oscar Hammerstein, visiting the production during the rehearsal period, pointed out to Sondheim that it was the first opportunity for the audience to applaud Merman while she was still on stage, all of the other songs that she sings ending in blackouts or the first act curtain after "Everything's Coming Up Roses". Sondheim and Styne were after all writing for a star, be it Merman, Lansbury, Daly or Peters, and now for LuPone. The audience has a need to finally give the star adulation as its own release of emotion. After that, the important final scene can take place with the audience in rapt attention. In London and New York, Laurents had Lansbury incorporate the bowing as part of the nightmarish number, continuing to bow even after the applause has stopped. I don't remember how Daly and Peters handled this continuous bowing. But the final scene of dialogue is an important and sensitive coda to GYPSY. It would not have worked with the final curtain coming down right after "Rose's Turn".
"Madam Rose...and her daughter...Gypsy!"
Updated On: 4/22/08 at 01:53 PM