Reviewed 12/30/04
It’s one of the classics, and many believe it the best musical from the Golden Age of Broadway. Laurent and Sondheim’s Gypsy has great characters, a hilarious and touching story, and a song list of easily recognizable tunes. It also requires a trio of strong performers to carry off the rigorous roles of second daughter Louise, eternally loveable doormat Herbie, and especially that of ultimate stage mother Mama Rose. The actress playing Louise needs to pull off a character arc that moves from frightened little lamb to world famous seductress. The actor portraying Herbie needs to strike a balance between oppressed and empathetic. Of course, the actress who steps into Mama’s large sensible shoes follows a laundry list of greats that would be imposing to any performer. I’m happy to report that Brian J. Enzman has cast three wonderful performers in the Broadway Palm West Dinner Theatre production, veterans of their past productions who seem natural choices. He has stocked the ensemble with a crew of talented adults and kids who do their best with his enjoyable, no-surprises choreography. Save for the rather disappointing dinner that precedes it, this is one of the best nights that BPW has offered in awhile.
The meal’s disappointment lays not only in what could simply be a one-night problem of over-cooking, but from uninspired choices. I was hoping that Executive Chef Clifton Weir would echo the Chinese food-theme of the musical, but not an egg roll was in sight. Those at my table found everything from the usually dependable carving item, a pork loin, to the sometimes-dicey pasta, baked ziti with peppers and Italian sausage, to be very dry. No one finished the risotto cheese stuffed Hoki fish, and while the Beef Bourguignon is a personal favorite, despite the subtly seasoned gravy, the meat was unusually fatty. The best options of the vegetables were the saffron wild rice with pine nuts and raisins and the broccoli with orange sauce, while the potentially tasty sweet corn and artichoke casserole was as dry as the pasta. The highlight of the evening was on the dessert table, where the addition of a Red Velvet Cake sent me back for seconds.
Director/Choreographer Enzman keeps the show moving briskly,
and while the dances he has created are mostly standard routines, they fit
each of the scenes. He saves his most creative moments for the second act,
especially the transformation of Louise (Danielle Plisz) from wallflower
to vixen.
That central trio of Elizabeth Loos, Plisz, and Patrick
DuLaney are the driving force that propels this show forward.
Loos is no revisionist: her Mama Rose is in the longstanding tradition
of Merman and Daly and Lavin.
This is a full-throated, take-no-prisoners rendition that captures the seductively
forceful and obsessive qualities of Mama. Loos, who was battling an illness
on opening night, still managed to rattle the rafters and sell not only her
many numbers but each of her character’s potentially 
grating qualities.
Plisz’ transformation from second banana to seductress is masterfully
performed, from her desperate “Little Lamb” to her come-hither “Let
Me Entertain You!” I was particularly impressed with DuLaney because
the role of Herbie is a thankless one. His performance marked the first time
where I really felt the tragedy of the unappreciated supporter. His strong
voice and solid hoofing supplement an acting performance that is nuanced
and draws empathy for a character that often seems like a throwaway.
Enzman has double cast many roles, including twins Meegan and Motique Korman as the elder June. Meegan captured well the jaded character and aced her singing and dancing performance. Opening night’s Baby June Shayna Moellenberg and Baby Louise Gina Galbo were both excellent, with Moellenberg adding a spoonful of sugar to the annoyingly perky character, and Galbo making an art of blending into the background. Graham Kurtz’ enthusiastic Tulsa does an excellent job with “All I Need is the Girl.”
The featured trio of Katie Kaluhurka, Brianna Borger, and Jackie Schmillen are wonderful in their roles as Tessie, Mazeppa, and Electra respectively. These are juicy cameos that are hard to ruin, but each brings their own to these choice walk-ons in “You Gotta Have a Gimmick.” The remainder of the ensemble is strong. No one draws focus away from the group, and they all sell the songs and scenes with heart.
Rob McKerchner’s set is a great show-within-a-show reference. Russell A. Thompson’s lighting is well designed. John P. White’s costumes capture character and period. Chris Kockler’s sound is flawless. Surprisingly, Gary Bartholomer’s orchestra was prone to a lot of sour notes, especially evident in the overture and entr’acte.
I heartily recommend this highly enjoyable evening. The three leads alone are worth the trip, but there’s plenty more that you’re bound to enjoy. There’s every reason to believe that the disappointments of the opening night dinner will be rectified. No matter what, this is a must-see evening of theatre.
