The jewel in the crown of the musical theatre canon gleams all the more brightly in this immaculately staged revival, with the great Audra McDonald leaving her all on stage as ferocious stage mother Mama Rose.
As if grasping for fame was not hard enough already in the dying days of vaudeville, this Mama Rose faces an additional hurdle, with the role clearly not played as colour blind casting. When Herbie asks Rose why she dresses June in a blonde wig, there is an extra layer to the question. With the book unedited, the issue of race is not addressed directly but the challenge is there and Rose works all the harder to overcome it.
Director George C. Wolfe and his team show the nonsensical gimmick across the street how to ready do a revival. The iconic book of Arthur Laurents, music of Jule Styne, and lyrics of Stephen Sondheim are treated with the utmost respect, as is the audience, and still the whole affair feels utterly fresh and vibrant.
Wolfe delivers plenty of warm humour, yet brittle tragedy remains at the fore. There are larger-than-life characters, but the compelling drama is firmly grounded in truth, and is all the more affecting for it.
Eschewing the original Jerome Robbins choreography, choreographer Camille A. Brown firmly places her own stamp on the work. The trenches-in-strobe-lighting as the kids age up is missed but there are abundant delights, not the least of which is the tremendous extended dance break for Tulsa is “All I Need Is The Girl,” superbly performed by Kevin Csolak.
Music supervisor Andy Einhorn contributes new orchestrations and arrangements, and conducts a lavish orchestra of 25 musicians. Performing in the orchestra pit (remember those?), the orchestra delivers that most famous of overtures in superb style.
Scenic designer Santo Loquasto retains a constant air of theatricality, providing a series of smart, tight settings within an ever present proscenium arch. Costume designer Toni-Leslie James brings a sneaky air of refinement to the depression era setting, and pairs with Loquasto to have great fun with the hammy “acts” desperately stitched together by Rose.
By turns electrifying, hilarious, and devastating, Audra McDonald is in absolutely thrilling form as Rose. Completely immersing herself in the role, McDonald has Rose steamroll her way through all obstacles with power to spare. McDonald’s engagement of her soprano head voice is expertly handled to heighten emotion and not detract from memories of previous pure alto belters in the role. To bring home the tour de force of Rose’s Turn, Rose “sees” our standing ovation, imagining all the acclaim she would have received had she not been born too soon and started too late.
Broadway legend Danny Burstein is the ideal partner for McDonald, his Herbie a loveable pro who exudes palpable warmth and charm. The fact that a Herbie of this strength cannot cope with Rose’s ultimate insanity is all the more powerful when the dear man’s exit finally comes.
Joy Woods is elegance personified as acclaimed ecdysiast Gypsy Rose Lee. Woods takes Louise on an extraordinary arc, playing her early shyness in heartrending fashion and birthing the glamorous strip tease artiste in completely believable style.
Lesli Margherita brings full life to late entry Tessie Tura, joined by Lili Thomas (Mazeppa) and Mylinda Hull (Electra) for a suitably sassy take on the much loved charm song “You Gotta Get A Gimmick.”
Generously produced in all regards, the lavish staging has an incredibly large cast, encompassing adults, children, and sweet little Tana June as Chowsie.
Any and all musical theatre lovers who visit New York this year should need no additional urging to do all they can to catch this must-see engagement of Gypsy.
Gypsy was reviewed 7pm Tuesday 6 May 2025 at Majestic Theatre, New York. For tickets, click here.
Photos: Julieta Cervantes
Categories: Broadway, Music Theatre, Reviews
Man in Chair 
Thoroughly enjoying your reviews from ‘the Great White Way’ Simon (no pun intended) but I’m confused re the casting of this Gypsy, a casting that compromises the integrity, authenticity, motivation and intention of the original work, a piece that has become solidly synonymous with a character of particular race and gender.
Over time, in a world of ‘fake news’, this character’s origin and story will become blurred and mis-interpreted.
Despite Audra’s amazing talent, Mamma Rose is a product of that lauded USA export, the genre of performing arts that is musical theatre/comedy, growing from a predominantly Western/European culture whose characters should not be altered under the guise of political correctness.
I’d like to think that in 100 years time Gypsy’s vision remains intact.
Thank You,
Edward
Hi Edward, thank you for these comments.
I can totally see where you are coming from. I actually think it would be more problematic if the production had been staged with “colourblind casting” of Rose. That would have an example of political correctness for the sake of it.
I had plenty of time consider the casting before seeing this production. I was impressed with how clearly Audra’s characterisation leans into the style of voice and dress etc of a woman of colour at that time. The style is not streamlined to pander to a modern audience.
I believe that Ms McDonald and Director George C Wolfe investigated the possibility of artists of colour making their way in vaudeville at the time. I take this production as a fascinating insight and I feel confident that the original intent of the show will be intact for future seasons.
As a comparison, I think that the current Sunset Blvd here (which I referenced in my review) does actual damage to its original show in that there is no way to follow the original story based on how it is staged. Not to mention, they cut a pair of songs.
I hope you will have a chance to see a bit of Gypsy on this year’s Tony Awards. This may serve to put the production in a little more context.