I thought she was incredible in Gypsy (saw her three times) and completely miscast in Annie Get Your Gun (from what I've seen/heard). She should have won for Gypsy instead of AGYG. It doesn't help that Marissa was one of the weaker Tracys IMO.
Here is a great article RE: Bernadette's Tony performance. It is exactly what I 'got out of it'..especially the climax at "well...someone" etc.
DIVA TALK: "Turn" of a Lifetime PLUS Divas Come to the Cabaret
By Andrew Gans
13 Jun 2003
Throughout my 20 or so years of watching the annual Tony Awards telecast, there have been just a handful of performances that have left me completely speechless.
Patti LuPone's belting of those high Es during Evita's rousing "A New Argentina"; Betty Buckley's stentorian delivery of the final "Touch meeeeee, it's so eeeeasy to leave me" portion of "Memory" the year she and Cats triumphed with multiple Tonys; and Jennifer Holliday's passionate tearjerker "And I Am Telling You I'm Not Going" are the three that immediately come to mind. Well, this past Sunday's ceremony added a fourth to my short list: Bernadette Peters' astounding "Rose's Turn."
I had hoped Peters would triumph with her moment in the Tony telecast spotlight, but she exceeded my high expectations. I wanted her performance to be as thrilling as it was both times I attended the Gypsy revival at the Shubert Theatre, but I worried that it might not have the burning fire without the penultimate scene that precedes the climactic, harrowing breakdown-in-song. I needn't have worried. Peters' performance was equally heartbreaking and possibly even more ferocious.
I was lucky enough to attend the June 8 ceremony live, and the audience at the famed Radio City Music Hall was completely spellbound by the two-time Tony winner the moment she declared, "Here she is BOYS! Here she is WORLD! Here's ROSE!" There was a fierce determination in Peters' eyes as she strutted toward the front of the stage in Anthony Ward's wonderfully sexy, purple form-fitting dress. I love director Sam Mendes' staging of the number, particularly when Peters invitingly leans against the brick wall at the back of the bare stage and — with fingers over her lips — states, "Ready or not, here comes Momma, shhh!" And the anger in both Peters’ voice and face was palpable as she questioned, "Why did I do it? What did it get me? Scrapbooks full of me in the background!"
For me, however, the song — in Peters' hands — reaches its climax in the word "well" that precedes "Well, someone tell me when is it my turn? Don't I get a dream for myself!" The frustration, the longing, the wanting, the needing — all the love and success that Rose has been unsuccessfully searching for her entire life — finally explodes in this belty "Well." Peters' performance is so dramatic that she can't wait until the rest of the sentence to explode: The explosion comes early in “Welllll!” and it's frighteningly intense.
And, when the Gypsy star reached the conclusion of the song, belting out the final “For meeeeeeeeeee,” the audience — three balconies and all — rose en masse. There was no delay, no hesitation. It was as though there was no possible response other than to jump to one's feet and applaud. It was one of the most electric responses to a performer I've ever experienced in the theatre. (I’ve since watched the telecast on tape, and it's the same goose bump inducing response on the small screen.)
And then, moments later, the Best Actress in a Musical Tony was awarded to Marissa Jaret Winokur. It wasn't too surprising, for it seemed to be a Hairspray sweep, with the fabulous, high-energy musical nabbing eight prizes, including Best Musical. After watching Peters' performance, I do imagine many around the country were wondering, "Who votes for these awards?" And, I have to admit, I was thinking that, too. I was quite disappointed for a day or two following the ceremony and then realized that Peters has already earned two Best Actress in a Musical Tony Awards and can pretty much name the director, the show and the role she'd like to play. This may be Winokur's only leading role, and she should be able to enjoy her moment in the spotlight.
It is interesting to note that neither Broadway's First Lady of the American Musical Theatre — Ethel Merman — nor her heir apparent, Peters, was awarded Tonys for her Gypsy performance. Merman's place in musical theatre history certainly wasn't hurt from the Tony loss; in fact, most all of the theatre-going public — even those who weren't yet born — seem to have caught that legendary Gypsy performance. And, Peters' place in musical theatre history as one of its greatest actors/singers and "all around warming presences" (thanks, Frank Rich) — is equally safe. And, as for this year's Tony telecast, it will mainly be remembered for that towering performance: those breathtaking four minutes when Peters — with one brilliant song — silenced any of the naysayers of the season past. Brava, Bernadette!
And, for those of you who have yet to catch this Gypsy, get thee to the Shubert!
Bernadette Peters peaked with Dames At Sea .....
Well, it's the season.
Melissa Jared Winoker is a fat pig. She belongs working in a hair salon.. OOOPS!
She's skinny now.
Unless you saw both performances on stage (not on the Tonys) you can't judge it.
The award isn't given for a Tony broadcast performance, but for doing it 8 times a week in a Broadway theatre.
Marissa was excellent as Tracy and carried the show. Bernadette got very mixed reviews from critics and audiences as Rose. She was also sick a lot. Some people thought she was completely miscast as Rose, while others thought she had reinvented the role to fit her own personality, type, and talents.
But during the broadcast on TV, Bernadette gave us a "Reader's Digest" version of Rose's Turn that knocked it completely out of the park. One of the best Tony performances I have ever seen (right up there with Jennifer Holliday in Dreamgirls).
But again, they don't give Best Actress in a Musical to a Tony broadcast performance that lasts 2 minutes.
I'm glad Bernadette lost the Tony, especially since she won for that completely hideous turn in AGYG. That Tony that year belonged to Carolee Carmello for Parade.
Featured Actor Joined: 5/6/13
I thought I read that June Havoc felt Bernadette was the most like her mother in terms of physicality and how she sounded - am I misremembering?
^ That doesn't mean she gave the best performance. (And I was a fan of her Rose.)
I didn't see Peters but I loved Winokur. Moreover, I've never heard anyone say anything the least bad about Winokur's performance (although many people clearly weren't happy with Bernadette's Rose).
Which makes me wonder how many distressed about this feel that Winokur over Peters was a scandalous decision based on their performances, and how many are simply on a Bernavendetta.
Featured Actor Joined: 5/6/13
Agreed - I just couldn't remember if that was the story that June Havoc had told.
henrik, you're a genius for coining the term Bernavendetta.
HAHAHAHAHAHA. Love it!!!
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