Gypsy
It’s becoming a cliché to say “Spotlight has another triumph on its hands.” But clichés are only clichés because they happen so often. The standard at this Gold Coast community theatre could best be described as ‘excellence on a budget”. Their commitment to every production provides marvellous entertainment to the community at a fraction of the cost of any ticket to a mainstream show. So, if you want first class live entertainment at a price that will not break your budget, Spotlight, like other high quality community companies, should be your “go-to” place.
Another reason to support Community Theatre is the chance to see awe-inspiring talent in roles which main stage theatre productions would never allow them to play because of the “bums on seats” policy.
Carole Williams, who gives us an extraordinary performance as Rose, is a spectacular talent who deserves to be on Broadway, but you won’t ever see her there – and that is the theatre world’s loss but our gain.
The story of 50s stripper queen, Gypsy Rose Lee, and the ambitions of her monstrous stage mother Rose, gives us one of the best written shows and most complex and difficult diva roles in the history of theatre.
From her first entrance, the amazing Carol Williams nails it and shows why she deserves to be up there with the likes of Merman, Lansbury, Staunton and Caroline O’Connor. She is, dare I say, better than the woman for whom the show was written, Ethel Merman (and yes, I did see her live on Broadway in 1960) and so it is doubly galling to think this performance will only be seen by a tiny percentage of its potential audience.
Williams takes no prisoners, she assaults our senses with a “F**k You” belt in “Some People”, which makes us actually recoil in our seats and for a moment I was concerned that she had left herself nowhere to go. I needn’t have worried, she showed the softer side of Rose in “You’ll never get away from me” (which is, at its heart, still a song about control), and by the time she got to the iconic “Rose’s Turn” I was blubbering like a baby and was the first to lead the much-deserved standing ovation. This is a must-see performance of an iconic role by an actress you don’t know, who truly deserves her name in lights. A rare treat.
But there’s a lot more to be grateful for in this production.
Chris Hawkins is really excellent as Herbie. It’s a difficult role because Herbie CAN appear to be weak - swamped by Rose. Hawkins gives a different take, a sensible grounded man who tries to steer the wrecking ball that is Rose away from any further destruction, only to realise that love isn’t enough and never will be. I don’t know Hawkins’ stage work prior to this, but I hope to know him more in the future. His easy and endearing naturalistic style of acting adds another dimension to a character that could seem merely another prop for Rose to play with.
Madeline Harper (Louise) and Kimberley Rigby (Dainty June) both excel as Rose’s daughters. Madeline’s transition from beaten down resignation (which she plays with great poignancy) to self-assured star - with all of her mother’s drive and determination is particularly impressive, and Kimberley conveys all of June’s potential star quality with her own impressive stage presence - particularly in her jaded “offstage” reactions to the appalling Vaudeville act she must endure with a dazzling smile.
Andrew King has an infectious grin, great projection - a lovely loose “hoofing” approach to his time steps and a warm stage presence which makes it easy to overlook his spins, as Tulsa, being a little off centre in trajectory, Tulsa is a lovely ‘juvenile’ role, and Andrew makes a feast of it.
The three strippers – Melissa Quirk (Tessie Tura), Kat Lardner (Mazeppa) and Jessica Papst (Electra) are all terrific. Totally credible within their characters, they nail the wonderful “You Gotta have a Gimmick” number, which surely has some of Sondheim’s wittiest lyrics.
Grant Eberling and Neil Watson provide valuable character vignettes, proving once more the old adage that there are no small parts…etc
The ensemble, who all cover small roles, are invaluable to the production and the juvenile perfomers in Act One are an absolute delight, some of the best I have seen, especially Baby June - played by either Maddie Terzis or Dakota Chanel - I’m not sure which. Great comic timing, so bravo.
David Valks is new to directing, but comes with a great feel for the work and an obvious love for this iconic show. He has done a wonderful job in putting it together and, although there are a few moments which are undercooked, he nails every important progression in the storytelling. I’m really interested to see what he tackles next.
In Gypsy, Rose’s journey is about chasing the dream. Spotlight, however, always manages to make dreams reality. This is truly fine community theatre. Buy a ticket…if you still can.
Coral Drouyn
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