Gypsy

The laughs started immediately as Director Richard Carroll showed his panache at making his cast look amateurish.  Just as some of the wittiest moments of his production of Calamity Jane depicted a ham actor, so too did the assembled motley troupe of show business mother Rose (including a hapless hula hoop girl) prompt fits of giggles in the audience by performing ‘badly’.

It took the Hayes Theatre three years to convince the rights holders to allow them to downsize the production to the Kings Cross venue and the long gestation appears to have served them well. The musical opened with a blank black box but during the three hour production, lots of delicious set pieces drop in, including a bridge and some sparkling fairy like lighting that framed the stage.

Members of the downsized band also made joyous appearances on the stage, that was perfectly suited to a musical about show business.

Gypsy is famous for being a star vehicle for women. Ethel Merman was the first lead on Broadway, Angela Lansbury led the charge in the West End, yet whilst Blazey Best was formidable in this production, it was a man who stole the show. Mark Hill as Tulsa absolutely dazzled in a dance set piece which appeared to have him floating across the stage.

A number of heavyweight music theatre buffs have labelled Gyspy the greatest American musical.  Members of the general public might not recognise the title of the show but most will hum along to its songs that have become standards including “Everything’s Coming Up Roses”, “Together (Where ever We Go)” and “Let Me Entertain You”.

The depth to the musical is the psychological insights into the character of Rose and her battles to wrench her two daughters to show business stardom. This dark and brooding side is intriguing to soak up in the intimacy of the theatre.

At three hours it is a little on the long side, but members of the audience will leave thinking they have experienced another magical night of musical theatre at the Hayes.

David Spicer

Photographer: Phil Erbacher