Theater Works' Gypsy
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 2/12/99
(out of )There are terrible musical productions, where everything is so wrong, it's laughable, and worth watching for the cynical yet guilty enjoyment of it's problems. Just plain painful is the musical production which has certain elements that shine, while most tarnish. Such is the sad case of Theater Works latest musical monstrosity, Gypsy, directed by Valley veteran Robyn Ferracane. It would be easy to just dismiss this show entirely, based on its wretched lead actress and actor, its tinny canned music, its endless technical mishaps, its thoroughly unimpressive set, and its haphazard direction, but unfortunately, to dismiss it entirely would be a slight to wonderful supporting actresses, and a kids chorus that deserve a better frame for their efforts.
Gypsy is the musicalization of the childhood of
famous and infamous stripper, Gypsy Rose Lee, but the center of
the show is Mamma Rose, the prototypical Stage Mother, who sacrifices
everything for the showbiz success of her darling daughters, Baby
June and Louise. Though the title refers to the young actress
who turns from also-ran to Burlesque Queen throughout the course
of the show, the focus always remains on Mamma and her manipulations
of reality to get what she's after. To that extent, everyone seems
to remember the luminaries of musical theatre who have played
her role, such as Ethel Merman and Tyne Daly. This is a star vehicle,
and rightly needs a talent with the breadth and scope of Ms. Ferracane's
performing abilities. Unfortunately, Ms. Ferracane has remained
behind the scenes, and we instead wind up with the dubious replacement
of Phyllis Fort. Oy.
Ms. Fort's work has been a hit-and-miss patchwork prior, as she's
done well in smaller roles in such shows as Company
and Grand Hotel, but
missed the boat in other productions. I'm sorry to have to be
the one to say this, but there can't be one person in the entire
theatre community, besides Ms. Ferracane, who ever believed Ms.
Fort was capable of pulling off a role of this acting and singing
intensity. And, unfortunately, Ms. Fort sinks to the occasion
as proof. To attempt to catalogue all of her problems here would
be impossible, but lowlights include an underwhelming acting style
that has the intensity of a wet firecracker, a bad case of mushmouth
when she does remember her dialogue, and a vocalization style
that is mousy and inaudible for long stretches, and then slides
into notes those times the audience can hear her.
Of course, Ms. Fort isn't aided by the normally solid Jerry
Wayne Harkey's taped musical score, which sounds like it has
been produced on a little Casio keyboard. Even worse is Ricky
Tambor's Sound Design, which may have been solid, but Chris
Wo and Julia Thomson's operation made into a series
of musical mishaps. Symptomatic of the triple threat of problems
was the segue into Ms. Fort's big blockbuster number of Act I,
"Everything's Coming Up Roses." Ms. Fort mumbled her
introductory lines, struck her pose for the start of the song,
and remained motionless for tens of seconds in that pose while
the sound board operators scrambled to cue the music. No ad libs,
not even an acknowledgement of just how silly she looked standing
still in that pose, as if she hoped that the audience wouldn't
notice. Unfortunately, we had no choice. We noticed.
Slightly less horrible was Lee Powers' performance of the
hapless Herbie, Mamma's boyfriend and the cheesy act's agent.
Mr. Powers and Ms. Ferracane seem to have forgotten that playing
browbeaten is a difficult art, and requires downplayed power,
rather than underplayed wimpiness.
With these slams aside, the heartbreaking element of this production
must be mentioned, and that is the wonderful performances by Megan
Walker as the blossoming Louise, and Jessica Schall
as the perky June. The highlights of the show were their enjoyable
presentation of the song "If Mamma Was Married," and
Ms. Walker's transformation throughout the last part of the production
from mouse to bombshell. The Farmboys chorus, as well as the Hollywood
Blondes girls also give wonderful performances, with Ryan Holly
doing quite well in his solo song and dance, and even ad libbing
like a trouper when half of his song was cut off by the overwhelmed
sound techs. Attention must also be paid to the trio of Darcy
Hostetler, Alice Marie Sanderson, and Johanna Carlisle,
who do a solid turn as the strippers in "You Gotta Get A
Gimmick." Robert L. Harper's choreography was neither
here nor there, working acceptably at some points, and not getting
in the way at others.
Technically, the show was a general shambles, save for Margret
Emerson's always dependable Costume Design, and David Empey's
solid lighting. Thom Gilseth is oh-for-two in openings
this weekend, for the set he creates
for this production is brilliant in concept, though not in execution,
filling the space with cheesy flats and rather ugly curtains to
represent the stage-based themes of the show.
There's no possible way I could recommend potential audience members
should put up with the problems of this show to enjoy the solid
and sometimes impressive performances that occasionally pop up,
and that's heartbreaking. It's just a matter of balance. As good
as Ms. Walker and Ms. Schall are, Ms. Fort and Mr. Powers, as
well as most of the technical elements of the show, are all the
worse. We can only hope that those solid and impressive performers
are eventually given a chance to shine in a worthier vehicle.
Production Details:
Gypsy Book by Arthur Laurents, Music by Jule
Styne, Lyrics by Stephen Sondheim
Theater Works,
Peoria
(602) 815-7930
February 12th - March 21st, 1999