Gypsy

When words fail us, we go back to the alphabet for superlatives…and words truly do fail me in describing this astonishing production. So:-

A -Astonishing, I’ve already used. Awesome, yes indeed, plus arousing, artistic, awesome…how much time do you have?

B ..Beautifully staged and brilliantly realised on all levels. Brave and bonzer also come to mind.

C is Caroline :- charismatic, candescent, comedic, confronting, classy, consummate, cutting edge…..

Enough of trying to be clever! Let me say simply that this is a production Broadway WISHES it could see – a night of superb theatre which will stay with you for a lifetime. You wait with almost cynical expectancy for something not to work, for someone to not be perfect, but it doesn’t happen. The audience were already on their feet at the back of the stalls when the superb orchestra, under the direction of Guy Simpson, finished the five minute overture. The score, lyrics and book of this show are perfection, and the benchmark for musical theatre. No further comment needed.

The brilliant Gale Edwards has allowed Adam Gardnir great freedom to create a set with fly-in panels that really does transport us to the 1920s and 30s. The effect is stunning and at no time do you ever feel this is a concert production. Tim Chappel’s costumes are witty, whimsical and quite fabulous. The sound design by System Sound and lighting by Paul Jackson and Robert Cuddon are perfect. The sights and sounds the colour and movement, Andrew Hallsworth’s great choreography and Ms Edwards superb direction make this an outstanding success before we even get to the performances. True, some will mourn the loss of some dialogue…and where was the “Little Cat” in “Little Lamb”? Those two lines “Why do you look so blue? Did somebody paint you like that, or is it your birthday too?” are the most poignant in Louise’s journey. But those are minor details, and only the older fans among us would have noticed.

Matt Hetherington, at first seemingly miscast and too young, is heart-achingly vulnerable as the simple and decent Herbie who needs a strong woman to drive him, but is swamped by the avalanche that is Rose. The delicious Chloe Dallimore (Tessie Tura), Nicki Wendt (Mazeppa) and Anne Wood (Electra) are all musical theatre stars in their own right. Put them together as the three jaded strippers and they come close to stealing the show, with Wood’s spaced out and debauched Electra ending in a photo finish with Dallimore’s balletic butterfly. Wood wins on points though for her wonderful cameo as the dry Miss Cratchit. Christina Tan finally gets the part she deserves as Louise/Gypsy and impresses in every scene. Nathan Pinnell is a fabulous Tulsa who will surely go on to super stardom (Newsies anyone?), Frank Garfield, in a variety of supporting roles, shows us again why it’s de rigeur for him to be first choice for any musical production, and Glen Hogstrom brings real presence to Uncle Jocko and his other roles. Gemma-Ashley Kaplan makes the most of Dainty June, the most under-developed of the characters. The ensemble are excellent throughout and special mention must go to the junior members of the cast. The Newsboys were terrific, likewise Baby Louise, and whichever Baby June appeared on opening night – Hattie Hook or Paris Mahar – she was just wonderful. Both girls thank their agents in the programme notes. Adorable.

And so back to the letter C again, and the astonishing Caroline O’Connor. There are very few TRUE triple threats – Miss Merman herself was not one. Rose is a complex and confronting character, basically unlikeable on every level. Ms O’Connor is an actress who understands subtext and knows how to play it. She gives us a Rose who, despite her appalling behaviour, breaks our heart. The grace with which she moves on the stage, the very essence of a dancer, plus every note she sings, proves that Rose is right when she says she was born too early and started too late. This is a Rose who could have, should have, been a star in her own right if the fates had been kind, and so her bitterness is understandable if not forgivable. The actress builds her performance perfectly. At first I thought she was underplaying, but as the hard knocks accumulate and desperation turns to despair, and despair to delusion, I understood totally how driven and angry she became inside. By the time we got to the first act closer “Everything’s Coming Up Roses” and she sang the line “Mama is gonna see to it”, the hairs on the back of my neck stood up, I got goosebumps, and started to cry, overwhelmed by the intensity of the performance. I cried again in Rose’s Turn at her interpretation of “Well, someone tell me, when is it my turn? Don’t I get a dream for myself?” There was an innocence, a childlike vulnerability, a sense of “Why am I being punished, neglected, excluded?” That bewilderment, after all the rage, broke my heart. It’s the first time I have seen such fragility in Rose. It’s so difficult to describe a true artist, because words are inadequate. But we know one when we see one. Ms O’Connor is a true artist, and deserves all our respect.

Gypsy is a consummate production, and we should all see it.

Coral Droyn

Photographer: Jeff Busby

More Reading - Caroline O'Connor interviewed by Coral Drouyn