Theater: The Right Turn
Patti LuPone is the greatest living performer in the American musical theater. Perhaps thatll read as embarrassingly fanlike and fawningthe kind of hyperbolic encomium one would expect from those fey, rose-bearing audience members I spotted attending the Broadway revival of Gypsy, in which she stars. But its her thorns I love the best.
Although LuPone is playing Rose, one of the most terrifying female characters in the musical theater, roses are inappropriate to honor her performance. As she plays her, Rosethe ultimate pushy stage mother; the ogre deriving vicarious thrills from making her daughters into vaudeville successes (one became actress June Havoc, the other stripper Gypsy Rose Lee); the maternal monstrosity whose psychological destruction arrives at the end, in the Jule Styne-Stephen Sondheim song Roses Turnis well beyond flowers. Venus Fly Traps would more easily suffice. In Gypsy her Rose is cyclonic and torrential, a tsunami of wildly histrionic gesticulations, vocal quirks and teapot-dome-sized tempests when simply shouting would do fine. LuPone inhales the sceneryshe doesnt gorge on it. But the result is that LuPone reaches Roses core: If she were a nuclear plant, shed be doing laps in the plutonium pool.
Ive only seen two of the prior Roses on Broadwaynot Ethel Merman in 1959, not Angela Lansbury in 1974, but I did see Tyne Daly in 1989 and Bernadette Peters in 2003. And I feel LuPone has synthesized what was salient (or said to be) about those performers interpretations: Mermans brass tacks and bombast; Lansburys vulnerability; Dalys cool ambisexuality; Peters sensuousness. In the song Have an Eggroll, Mr. Goldstone, a throwaway number in which Rose thanks the man wholl get her kids on the Orpheum circuit, watch LuPone actnot singHave a lichee, Mr. Goldstone if you want to gauge her level of detail as Rose. In addition to an airtight production by book writer Arthur Laurentsand once again being delighted by Jerome Robbins original choreographyGypsy is LuPones purest triumph.
No ones acting is any less detailed than LuPones. Boyd Gaines has reinvented the role of agent Herbie as more than a milquetoast: Hes a manly, gutsy guy who loves Rose for her psychosis, not in spite of it. His fancy-free Act 1 numbers with LuPoneSmall World and Youll Never Get Away From Meare life lessons in limning subtext.
In You Gotta Get a Gimmick, three strippersAlison Fraser as Tessie Tura, Lenora Nemetz as Mazeppa and the incomparably deadpan Marilyn Caskey as Electratake the whole idea of subtext and turn it on its head. The number functions not only as comic relief but also as a plot mechanism to get Louise, Roses hitherto untalented daughter, into the world of burlesque. This production has what I think is the finest version of this hilarious number, and I could sit through it 500 times and always locate something new.
As JuneRoses more traditionally talented daughterLeigh Ann Barkin turns If Momma Was Married into a fatwa against Rose, which is at once chilling and inventive. That song is also a duet with Louise, and it isnt just how Laura Benanti sings Little Lamb or yearns to be held by Tony Yazbecks Tulsa during the dance solo All I Need is the Girl that may win her a Tony for playing the role. Its Benantis radiation of empathy. Its her capacity to show Rose love thats wholly unearned. Yes, give LuPone her Tony, but also give it to Benanti. Its her turn, too.
Open run. St. James Theatre, 246 W. 44th St. (betw. Broadway & 8th Ave.), 212-239-6200; $42-$117.