Arguably the quintessential saga of a fierce stage mother who vicariously tries to resolve her own issues, Gypsy holds up as well today, as when it premiered in 1959. Mama Rose takes her two daughters: Louise and June, on the road with a somewhat spectacular (if quaint) vaudeville act, doing their best to climb the ladder that leads to Broadway. June is dressed in ribbons, curls and taps, while Louise often wears the same costumes as the chorus boys. Early on, Rose convinces Herbie to be their agent, booking decent venues and living in cheap hotels; an extended makeshift family making the best of limited resources. Herbie and Rose are a couple (Rose is hesitant to marry after four previous failures). The troupe wanders all over the map, eventually reaching The Big Apple, and their opportunity to audition for The Great White Way. When June is offered an undeniably generous contract, Mama Rose shows her true colors.
It’s really not a flaw, but I always found it curious that while Gypsy ostensibly refers to Gypsy Rose Lee and her rise to fame as a sophisticated, clever, stripper, it’s not exactly about her. Louise’s transformation from self-effacing tomboy to a burlesque queen (brimming with saucy panache) is nothing short of phenomenal, and better yet, believable. But this musical by Laurents, Stine and Sondheim is undoubtedly the story of Mama Rose. Perhaps the original Tiger Mom? Touting an act headlining “Baby June”, chock full of kiddie kitsch, she muscles and shoves and cajoles, till she gets her way. There is nothing subtle about Mama Rose and she doesn’t take no for an answer. We understand that she has a fire in the belly, and her need to fulfill the talent she recognizes in her daughters. But Gypsy, filled with humor and unblinking chutzpah, makes plain the price Rose’s zeal and ambition takes on those she loves most. Gypsy is warm, but never sentimental, savvy but never cruel.
Director Derek Whitener (always a joy) has taken this demanding script and sculpted a brash, exhilarating experience. The story never bogs down, and the large, avid cast is poised, effusive and all too glad to share their enthusiasm. Whitener may have found the perfect balance for a show that embraces actuality, without losing optimism or copping to the sappy. Among these marvelous performers, Sara Shelby-Martin (Mama Rose) and Kimberly Pine (Louise) manage these difficult characters, shaking us up and stirring our spirits. Shelby-Martin is tough, self-possessed and poignant. Pine is astonishing in her versatility and verve. Mr. Whitener, it seems, could stage a lecture on The Life of The Bumble Bee and still have us cheering.
The Firehouse Theatre presents: Gypsy, playing May 31st – June 17th, 2018. 2535 Valley View Lane, Farmers Branch, Texas 75234. (972) 620-3747. www.thefirehousetheatre.com