Recent GYPSY revival - Controversial? — Page 2

I had the pleasure of seeing her three times (and the final performance to boot) and I must say I really enjoyed her more human Rose as opposed to the forces of nature the Merm, Roz, Angela, and Tyne portrayed her as. I felt she breathed a different life into a very difficult character, one you could even *gasp* feel sorry and pity for when Herbie leaves her. I agree that she did struggle with the songs (I never saw her having great difficulty but she did seem a bit off all three times) but her acting more than made up for any vocal weakness. Any actress who could make Mamma Rose a beleivable woman instead of a crazed fiend deserved a Tony (but thats another story...)

Updated On: 3/23/06 at 01:45 AM

Daly acted the hell out of it and was more the expected physical type for Rose. Her singing was definitely less than pleasant, at her best she was not as good as Peters at her worst - she's just not a singer.

Peters was working at a deficit from the beginning - no one expected her to pull off Rose - she's tiny, she has that high pitched voice - who would think she could come close to what was needed to play the mother of all stage mothers? Then when she became ill and missed previews, all the doomsayers were able to gleefully wring their hands and proclaim that they had been right all along - she couldn't handle the role.

Tyne Daly is a big tv star who came in and did a fabulous job overcoming a glaring weakness. That's why she won.

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Rose's singing isn't "singing" for an audience. All of her singing is expressing her emotions. So it's not really Rose herself showing her singing voice - it's only the actress's singing voice. GYPSY isn't CABARET.

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Updated On: 3/23/06 at 04:20 AM

I have nothing really new to add here, but I wanted to chime in on the debate -- especially since I know I'm in the minority.

I thought the production was brilliant. I show-within-a-vaudeville show production style was inspired, and the casting was pretty much perfect all around.

With the exception of Peters. I know the woman is talented, and there are plenty of roles for her out there...but Rose isn't one of them. I have no problem with an actress reinventing the role, infusing sexuality and playfulness, and straying from the Merman mold. What I do have a problem with is a clearly mis-cast actress, struggling through not only the songs, but the dialogue as well. What I saw on the stage that night was a talented, well-intentioned actress gasping for air in a role that so obviously a physicial ordeal for her to get through. She never for a second inhabited the role or made me forget that it was Bernadette Peters up there, just trying to get herself through the evening.

I had a wonderful, golden-age-Broadway experience that night seeing Gypsy...but left thinking, "I still feel like I haven't seen a good Rose."

Updated On: 3/23/06 at 11:13 AM

Rath - Or is she? it is all a choice of how the charecter is played.

I saw Bernadette on a good night but I agree that the vocal strain showed at crucial moments. In a curious way that worked for her, especially in Rose's Turn, where the rawness and desperation of some of her singing amped up the emotion.

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I was there. no ovation for the overture, but the wild clapping started as soon as she opened her mouth from off stage with "sing out, Louise", and then when she came on stage, everyone stood immediately.

and Peters was amazing at this performance. she didn't have to hold anything back, and didn't. I'll never forget it.

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I've never heard the score but I'm interested in hearing it. How difficult is it? Not to drag Wicked into this, but I would think that Wicked would be a hard score to sing 8 x a week.

Also, did this revival recoup? I remember it playing in NYC when I went, but I don't remember hearing if it recoup. I mean, considering the whole thing was worked around Peters, i know it didn't tour.

Well, I didnt mean to compare the scores, but I mean vocally. Is that what you were talking about? Peters is coming to my school in April, thinking bout going to see her. Never been a HUGE fan of her voice.

Okay, I'll def. pick it up. and you've inspired me to go check her out. She's performing with the Alabama Symphony Orchestra, so it should be interesting. Ben Vereen is also coming.

There's no comparison to Wicked, no matter who's singing it.


-- SO SO True. There is a reason why GYPSY is considered by most, the best musical of ALL TIME. The material is just amazing. Momma Rose takes a lot more vocal strength than say - Elphaba. Momma has to carry the majority of the score, usually she's belting, but that's not just it. She needs to keep a fierce intensity in her voice when she belts. That is where most Momma's fail, besides Merman. Merman's voice didn't falter at all, she kept her belt so intense and forceful. A lot of Momma's sound weak on the belt, because they can't keep the intensity - and some even need to lower keys.

Now, I will say. I think LuPone will be the best belted Momma since Merman. I am positive she can carry the intense belt throughout the whole show.

Updated On: 3/24/06 at 01:06 PM

So, original poster, it should be fairly obvious that, nearly 3 years to the day that the Mendes/Peters "Gypsy" opened (previews started March 31, 2003), that the casting/performance/abilities of Peters was the "controversy".

To the poster who asked about Bernadette in concert:I've seen her in concert maybe 5 or 6 times, as well as several Broadway shows. A chance to see her in concert is simply not to be missed, as others have pointed out. Here is a brief review from one of her latest concerts, in Denver in Feb. 2006:

"Bernadette Peters has Broadway down pat

Bernadette Peters must be the greatest Broadway performer alive.

If there were any doubts, she exploded them during an electrifying, sold-out concert Saturday evening as part of the Colorado Symphony's pops series.

As hard as it is to believe, Peters turn 58 on Tuesday. She looks far younger, still bursting with energy, zestiness and sex appeal to rival any 20-something performer.

Though related in some ways to what can be heard in jazz clubs or cabaret rooms, Broadway singing is like nothing else. It can be big and brassy or slow and sentimental, but it has to have show-biz flair and emotional honesty at its core.

Peters presented a wonderfully varied program - familiar and not-so-familiar songs from Broadway shows past and present - with surprisingly complex lighting that significantly enhanced the evening.

For sass and spunk, nothing could top her all-out take on "There Is Nothing Like a Dame" from "South Pacific." Peters has a special affinity for Stephen Sondheim, and she offered memorable takes on several of his songs, including a touching version of "No One Is Alone" from "Into the Woods."

That's entertainment."

- Kyle MacMillan, Denver Post, Feb. 24, 2006

And keep in mind that her husband died in September 2005, so we can only imagine the emotion and difficulties she must be going through.

Updated On: 3/24/06 at 01:07 PM