Drury Lane delivers glorious 'Gypsy'
High expectations greeted the news of Klea Blackhurst's casting as the indomitable stage mother Rose in Drury Lane Theatre's revival of the classic 1959 Broadway musical “Gypsy.”
Not only has Blackhurst built her showbiz career largely honoring the late Broadway legend Ethel Merman (starting in 2001 with her critically acclaimed cabaret revue “Everything the Traffic Will Allow”), but the monumentally difficult role of Rose has tested many a Broadway star including Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone and, of course, its originator, Merman.
So I'm pleased to report that Blackhurst packs a brassy wallop as Rose, navigating the demanding score of composer Jule Styne and lyricist Stephen Sondheim with plenty of vocal verve and style. Blackhurst's acting performance of Arthur Laurents' script, however, might spur some debate among die-hard “Gypsy” fans.
Rather than play Rose as an unstable monster, Blackhurst, under the direction of director William Osetek, shows her more as a determined woman with enormous blinders to anything that would distract from her dreams of vaudeville stardom for her two daughters, June and Louise. Blackhurst's Rose doesn't lash out as forcefully as others have in the role, which robs some of the dramatic potential. But this low-key approach also makes Rose more a flesh-and-blood person than an exaggerated caricature, which may be what Blackhurst and Osetek were aiming for.
Yet none of that should distract from what is an all-around superlative production of “Gypsy” that delivers time and time again. Drury Lane surrounds Blackhurst with a super strong cast and sensational staging by Osetek that emphasizes the hyper-theatricality of the show.
Particularly great are David Kortemeier's solid performance as Rose's long-suffering beau Herbie and the Louise of Andrea Prestinario. She believably grows from a naive follower forever in the shadow of her talented sister, June (a very perky Andrea Collier), to become the stunning “burlesque queen” of Gypsy Rose Lee. (The “baby” versions of these respective sisters are also played well by Hannah Whitlock and Emily Leahy.)
As the chorus boy Tulsa, Matthew Crowle amazes with his polished tap-dancing in the number “All I Need is the Girl” (marvelously choreographed by Tammy Mader). Also deserving of mention are the seedy burlesque dancers of Tessie Tura (Susan Lubeck), Mazeppa (Cheryl Avery) and Electra (Frances Asher), who bring the house down with their hilarious instructional bump 'n' grind number “You Gotta Get a Gimmick.”
Underneath a rotating proscenium arch by set designer Martin Andrew and with great period costumes by Melissa Torchia, the upfront glitter and behind-the-scenes grime of showbiz life are masterfully conjured up at Drury Lane amid the golden glow of Jesse Klug's flashy lighting design.
Drury Lane definitely does honor to “Gypsy,” which has only grown in critical stature through the years as one of the quintessential musicals of Broadway's golden age. It may be some time before you see another “Gypsy” produced on such a lavish scale and with so much dramatic insight on a mother who tries to live her showbiz dreams through her children. Go now and relish all the amazing talent on display at Drury Lane.
“Gypsy”
★ ★ ★ ★
<b>Location:</b> Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, (630) 530-0111 or drurylaneoakbrook.com
<b>Showtimes:</b> 1:30 p.m. Wednesday, 1:30 and 8 p.m. Thursday, 8:30 p.m. Friday, 5 and 8:30 p.m. Saturday, 2 and 6 p.m. Sunday; through April 1
<b>Running Time:</b> Two hours and 45 minutes with one intermission
<b>Tickets:</b> $35-$46 (diner packages available)
<b>Parking:</b> adjacent free garage
<b>Rating:</b> Despite some minor sexuality, it's largely for general audiences