Chicago Shakespeare Theater presents GYPSY.
Until last night, I had never seen any production of GYPSY. I had heard snippets of the musical sung by the grand dames of Broadway, including; Ethel Merman, Bernadette Peters, and Patti LuPone. Still, I had no expectations for this iconic musical.
GYPSY premiered in 1959. It is a showbiz reflection on the death of vaudeville and the birth of burlesque. The inspiration for the tale is based on the memoirs of the famed burlesque performer Gypsy Rose Lee. The story is about Rose, a mother who fervently believes in the potential of her daughter. The problem is she has two daughters. And either’s talent is questionable. Still, Rose bullies them on to the stage. She coerces producers, directors and agents to take notice. She browbeats anyone getting in the way of their -her- dream.
As far as musicals go, this one is anchored in melancholy. Although there are plenty of peppy vaudevillian acts especially in Act 1, the show centers on Rose’s unrequited life. Under Gary Griffin’s direction, Louise Pitre (Rose) delights as the high-spirited bulldozer. Pitre sings, dances, and screams with a frantic zealousness. At every obstacle, Pitre effectively pauses, takes a breath and then moves forth in full attack mode. Pitre’s relentless drive is increasingly disconcerting. Her meddling reaches gut-wrenching heights as she sells her daughter. Until this point, the hilarious Pitre has effectively balanced between overbearing momma and spunky manager. Her pushiness is pathetic but forgiven until this pivotal scene. She forcefully crosses the line. Then, the timid Jessica Rush (Louise) steps reluctantly into the spotlight and flourishes. Rush’s transformation, especially during the burlesque sequence, is stunning. She goes from awkward to sultry with a tug of a glove and a swirl of a skirt.
The orchestra, perched a story above the stage, provides the audio sparkle. Musical Director Rick Fox facilitates the energetic and bright sound of post-depression showbiz. There are plenty of vibrant and familiar tunes like “Everything is coming up roses”, “Let me entertain you”, and “Together wherever we go.” The showstopper is brought to us by a trio of strippers. The bawdy but kindhearted dancers give Rush a physical education during the number “Gotta get a gimmick.” Both Rengin Altay (Electra) and Molly Callinan (Mazeppa) showcase sassy ump but Chicago’s hometown dame Barbara E. Robertson (Tessie Tura) sizzles. A gravelly-voiced Robertson points her toes or thrusts her hips with erotic and hysterical results. Her flimsy silks are just one look in the bountiful fashion show by Costume Designer Virgil C. Johnson. For a poor woman, momma sure dresses tight with hats, fur-trimmed coats, and colorful dresses. When Rush finally gets to wear ladies’ clothes, Johnson creates her beautiful Barbie glam collection.
GYPSY captivates with homespun hopes. Before showbiz turned into a celebrity conglomerate, people easily chased their dreams on to the stage. Although this musical is a tribute to an era of wistful, wanna-be performers, it has a timeless message for parents trying to live vicariously through their kids too. Momma Rose justifies her zany behavior with, “I was born too early and started too late.”
GYPSY definitely knew how to entertain me. It certainly made me smile. I saw some old tricks and some new tricks. I found it very versatile. And I did have a really good time.
Running Time: Three hours includes an intermission
At Chicago Shakespeare Theater on Navy Pier, 800 E. Grand
Book by Arthur Laurents
Music by Jule Styne
Lyrics by Stephen Sondheim
Inspired by the memoirs of Gypsy Rose Lee
Musical direction and additional orchestrations by Rick Fox
Directed by Gary Griffin
Tuesdays, Wednesdays, Thursdays, Fridays at 7:30pm
Saturdays at 3pm and 8pm
Sundays at 2pm
Wednesdays at 1pm
Buy Tickets at www.chicagoshakes.com
Production photographs by Michael Brosilow