Rose's Turn- Page 2
Rose's Turn
#25Rose's Turn
Posted: 9/18/12 at 9:06pmI could have sworn Bernadette's "Rose's Turn" at the Tonys was well-received. Her interpretation and the Riedel controversy was another matter altogether.
Owen22
Broadway Legend Joined: 2/24/11
#26Rose's Turn
Posted: 9/18/12 at 9:07pmTyne and Caroline O'Connor coming in second (and might have pulled in front if the production had been better).
#27Rose's Turn
Posted: 9/18/12 at 9:09pm
I could have sworn Bernadette's "Rose's Turn" at the Tonys was well-received.
It may have been. To my ear, it just proved she couldn't sing the song. (Didn't see her revival. She may have been excellent otherwise.)
#28Rose's Turn
Posted: 9/18/12 at 9:14pmTovah Feldshuh's undies were pretty damn scarier then any of those above.
#29Rose's Turn
Posted: 9/18/12 at 9:48pm
This is not Rose's Turn, but Ethel Merman performs with a chorus line of dancing elephants in this number.
The elephants join Ethel at about 1:05.
Ethel Merman 'It's the Animal in Me'
#30Rose's Turn
Posted: 9/18/12 at 9:50pm
I wish that clip of Tovah's "Rose's Turn" was still on YouTube. That was pretty terrifying for some of the wrong reasons.
Speaking of odd versions of that song, does anyone have video of Andrea McArdle, Joyce DeWitt, or Donna McKechnie performing that song? I know that, at some point, someone told me there was video of their performances.
zamedy
Broadway Star Joined: 6/27/07
#31Rose's Turn
Posted: 9/18/12 at 10:37pm
No, this question never gets old for me. It is the definitive role for a Broadway actress, and only a handful of the very best have stepped into those shoes.
My vote is for the Merm, who unfortunately is often judged in forums such as this one only by a 1959 cast recording (which is brilliant). Only a select few on this board got to wrap their arms around her entire performance on that stage.
But bottom line for me.. I just love everything she brought to the role she created.. that streamroller, fearless, all-for-nothing attitude. The best actress? No. But she sang the hell out of every note, every night without a mic... and she was perhaps the best comedic actress to tackle the iconic role. When asked about his famous performances of all-time, even Sondheim (who was admittedly not a big fan of Ethel) said "And of course, Ethel was thrilling in GYPSY." I'll take his word for it.
An emotional Merman performing "Everything's Coming Up Roses"
http://www.youtube.com/watch?v=Tqf55X5PEh0
A more 'raw' version of "Rose's Turn" than what's on the OBCR.
http://www.youtube.com/watch?v=gDOrO9YtSsQ
Merm showing off her comedic brilliance live (from 4:43-5:02)
http://www.youtube.com/watch?v=577dtij8XVI&feature=related
beaemma
Featured Actor Joined: 11/24/09
#32Rose's Turn
Posted: 9/18/12 at 11:32pmI saw all the Broadway Roses except Ethel Merman and several others in regional and summer stock productions. There were good things about each of them, but Angela Lansbury was the best in my book. No, the youtube clips don't do her justice, wonderful as they are. Her acting of the role was better than I know how to describe. The end of "Rose's Turn" was absolutely heartbreaking, but also terrifying--to see someone just crumble like that. She was also one of the funniest Roses I've seen when that was called for. I loved her in MAME, but it was GYPSY that really made me the ridiculously devoted fan I still am today. I'd call Lansbury's Rose one of the half dozen best musical theatre performances I've ever seen.
Unknown User
Joined: 12/31/69
#34Rose's Turn
Posted: 9/19/12 at 3:23pm
Ethel Merman performs with a chorus line of dancing elephants in this number.
Which one is Ethel?
#35Rose's Turn
Posted: 9/19/12 at 3:25pm
I'd call Lansbury's Rose one of the half dozen best musical theatre performances I've ever seen.
I assume it's obvious that I agree. And when you add that performance to her Mame and Mrs. Lovett, Lansbury is quite simply the great musical star of my adult lifetime. Her closest competition would be John Cullum, not Bernadette Peters (whom I also like).
(But I did see Merman in MADAM as a child and I wouldn't put anything past her.)
#36Rose's Turn
Posted: 9/19/12 at 3:28pmOf the Roses I've seen with my own two eyes, I would have to go with Ms. Peters', because it was so surprising. I didn't expect much, but was astonished by what she accomplished. It was like she was being overwhelmed by a tidal wave of grief and regret.
#38Rose's Turn
Posted: 9/19/12 at 4:08pm
OT but I did THE MERRY WIDOW with Roberta Peters one summer. The conductor got so upset at the liberties he thought she was taking with his tempi that he locked himself in the bathroom during intermission.
And he didn't come out until Miss Peters apologized through the locked door and begged him to start the second act.
That was the first and last time I ever saw anything like that!
#39Rose's Turn
Posted: 9/19/12 at 4:33pmNot only is she, in my opinion, the best Rose, but I think Angela Lansbury is also the greatest actress to have ever lived.
#40Rose's Turn
Posted: 9/19/12 at 4:37pmI can't argue with you, Clap. But I'd need a time machine to go back and see a lot of performances by Kit Cornell, Helen Hayes and Julie Harris before I could agree with you.
#41Rose's Turn
Posted: 9/19/12 at 4:47pm
A review of Bernadette's "ROSE'S TURN"
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!
#43Rose's Turn
Posted: 9/19/12 at 5:10pm
^ THAT!
Was one of the more remarkable performance I've ever seen. The show around her was a shambles, and boy, did she have some low points, but there was a grit and emotional truth at times that were really unnerving. In a good way.
#44Rose's Turn
Posted: 9/19/12 at 5:49pmI would have actually loved to have seen DeWitt in the role. There's something about her that tells me she would have been quite interesting. I remember the reviews of her performance at the time were quite good, too.
Far From Home
Understudy Joined: 4/8/12
#45Rose's Turn
Posted: 9/19/12 at 9:12pm
I can't argue with you, Clap. But I'd need a time machine to go back and see a lot of performances by Kit Cornell, Helen Hayes and Julie Harris before I could agree with you.
Gaveston, I think maybe we should also include Geraldine Page. Perhaps Angela Lansbury could be considered the greatest musical theatre star. That would eliminate the other ladies (although Julie Harris did do Skyscraper).
I think it's a shame that if you say Helen Hayes to most young actors today, they say "who?" My parents saw her last stage appearance - Long Days Journey Into Night in Washington, D.C. in 1971. I still have the program.
#46Rose's Turn
Posted: 9/19/12 at 9:30pm
Gaveston, I think maybe we should also include Geraldine Page. Perhaps Angela Lansbury could be considered the greatest musical theatre star. That would eliminate the other ladies (although Julie Harris did do Skyscraper).
Yes, let's absolutely add Miss Page. Now that I think of it, I've seen Jessica Tandy give several astonishing performances as well.
I think Lansbury would be perfectly happy being called the "greatest musical star" since Merman and Martin.
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