Skylight’s ‘Gypsy’ Delves into Our Need to Be Recognized

The current Skylight production has all the spark and sizzle of a Broadway opening.

by

Theater

There are very few 20th century musicals that can match the power of Gypsy, the tale of a stage mother and the two daughters she pushes toward stardom. Skylight Music Theatre’s blockbuster production of Gypsy: A Musical Fable opened last weekend and continues through October 18 in the Cabot Theatre.

The musical Gypsy opened on Broadway in 1959, with the main character of Rose being played by vocal powerhouse Ethel Merman. Many famous Broadway stars have followed in Merman’s footsteps, including Bernadette Peters, Patti LuPone, Angela Lansbury and Linda Lavin. The most recent Rose on Broadway, Audra McDonald, earned raves for her multi-faceted character study, which examined all the influences that made Rose tick.

For this critic, the ultimate Rose will always be Tyne Daly (yes, the same actor who starred in TV’s “Cagney and Lacy.”) The Broadway performance of Gypsy that this critic saw in 1989 was second to none, and it certainly made at least one fan of Daly’s impressive talent.

The creative types who created Gypsy include a book by Arthur Laurents, music by Jule Styne and lyrics from Stephen Sondheim. The musical was loosely based on the memoir of Gypsy Rose Lee.

One of the musical’s signatures, a strobe effect first used in the original production, was created by legendary showman Jerome Robbins. You’ll know it when you see it.

The current Skylight production has all the spark and sizzle of a Broadway opening. It begins with a full-length overture, played by a small but mighty live orchestra (music direction by Jeffrey Saver). The show has a wealth of musical standards, such as: Everything’s Coming Up Roses,” “Together, Wherever We Go,” “Some People,” “Mr. Goldstone” and “You’ll Never Get Away from Me.” These tunes offer a welcome reunion for an older generation of musical theater lovers. who could sing along to every song. (Thankfully, Skylight audiences are content to sit and listen.)

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Amazing Abundance of Musical Talent

All of the scenes are delivered in top form by the large cast (under the direction of Michael Unger, Skylight’s artistic director). It should be noted that Skylight regulars will see many familiar faces, and that much of the cast is comprised of local talent.

Choreography (by Betty Weinberger) is spot-on for every song. It reaches a climax with the solo number danced by Tulsa (Alex Kennedy), who is one of June’s back-up dancers. Although Kennedy has a perfectly fine voice, his dance moves are electrifying. He effortlessly swirls around the stage for an entranced Louise (one of the daughters), as he holds an imaginary dance partner in his arms. Tulsa hopes that partner will be June (the other daughter). The audience can see by her slight motions during the dance number that Louise, too, yearns to be considered someone special.

One of the show’s overall themes is the basic human need for recognition. Rose (brilliantly played by Janet Metz) understands that she’s now too old to be a star herself, but she still yearns for the elusive limelight. Baby June (first played by Selene Taylor and then, as an older June, by Sophie Kaegi) wants to make her own mark in the world, without the constant hounding of her stage mother.

The more shy, reticent daughter, Louise (first played by Ky’lah Harper Robinson and, later, by Mona Swain) has always stayed in the background. When June abruptly abandons their vaudeville act, Rose immediately turns her attention to Louise. “But I have no talent!” Louise laments. Rose, however, isn’t listening. She’s lost in the daze of her own illusions.

There’s a major plot twist later that ironically turns Louise (later called Gypsy Rose Lee) into a star far brighter than her mother could ever imagine. That’s one of this show’s many delights.

Unlike many musicals of its time, Gypsy refuses to become outdated. Yes, it does focus on two dying art forms, vaudeville and burlesque. Younger theatergoers may not be familiar with either of them. However, many recent college grads have discovered the downside of a shrinking job market. Today, there’s also the near-disappearance of human intervention in a computer process called “coding.” Being unemployed can really threaten one’s sense of self-worth, and Gypsy’s characters know all about this.

Additionally, the concept of a “stage mother” has remained relatively intact over the years. One need only think back as far as the once-popular TV show, “Dance Moms,” for evidence of this.  

“Ya Gotta Get a Gimmick” is Broadway “Gold”

One of the special pleasures of watching Gypsy is watching the three burlesque stars telling Louise how they succeed. The tune, “You Gotta Get a Gimmick,” is one of the show’s highlights (if it’s done right). Here, the three burlesque “artistes” represented are: Mazeppa (Amanda Satchell), who “bumps it with a trumpet;” Raven Dockery (displaying a more ladylike approach with her well-lighted costume); and Samantha Sostarich (a dancing butterfly with a few well-placed bumps and grinds). This number arguably may be the best novelty tune of an old-school Broadway book musical.

Other noteworthy performances are delivered by Michael (Paco) Pocaro as Rose’s tight-fisted father; David Flores in several roles, most notably as the frazzled TV kiddie show host, Uncle Jocko; and Robby McGhee, who also fills several roles. He really makes the most out of his key turn as Mr. Goldstone.

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Saving the best for last, if there’s one reason (or two) to see Skylight’s Gypsy, it’s the combination of Janet Metz (Rose) and Andrew Varela (Herbie). These two strong talents were paired last year in Skylight’s popular Fiddler on the Roof (as Tevye and Golde), and they make an equally great team here.

For all of Rose’s driving ambition, her weakness is that she fails to see how others may be affected by her behaviors. Perhaps this is why she is thrice divorced (which cues a wonderful duet, “If Momma was Married,” by June and Louise). The loyal Herbie trails Rose all over the country and manages to get the act booked on a top vaudeville circuit. Rose appreciates him—for a while—but she’s never content with their level of success.

Sensing that Rose would never be happy as a traditional wife, Herbie sadly closes the door (literally) on their relationship. Rose responds as if it didn’t matter, by saying that she is used to “people walking out on her.”  

There’s plenty more to praise in this compelling and beautifully told story. Although the performers include a bunch of kids, plus a real dog and a real lamb, the show is suggested for theatergoers age 8 and older. The production runs 2 hours, 40 minutes (including one intermission). 

 “Gypsy: A Musical Fable” runs through October 18 in the Cabot Theatre in the Broadway Theatre Center. For tickets, go online to skylightmusictheatre.org, or call the box office at 608-588-2361.