- A nuanced and profoundly moving interpretation of the 1959 classic shines on Broadway.
Madam Rose has long been celebrated for her powerhouse vocals and relentless ambition, but rarely for evoking tears. In George C. Wolfe’s Broadway revival of Gypsy, Audra McDonald, arguably the finest actress to embody this iconic role, alters that perception, delivering a profoundly empathetic performance that reimagines Rose as a tragic hero.
This disarmingly emotional production of the 1959 masterpiece—featuring music by Jule Styne, lyrics by Stephen Sondheim, and a book by Arthur Laurents—transforms the audience’s experience. At the performance I attended, half the orchestra was visibly moved, some wiping away tears multiple times.
A Tragic Arc for Madam Rose
McDonald’s interpretation universalizes Rose’s relentless drive, exposing her as a figure battling external adversities and internal demons. Wolfe’s direction places Rose in an unforgiving world, forcing her to fight for survival, even against herself. Her journey reflects the collective human experience of missed opportunities and unrealized potential. Rose’s fate, McDonald suggests, is not just hers alone—it’s ours, too.
Wolfe’s direction draws from the tragic condition, as defined by Aristotle, eliciting pity and fear in ways rare for a musical. McDonald’s famed empathy as a performer breathes new life into songs like “Everything’s Coming Up Roses.” Her use of head voice, evoking an operatic quality, hints at Rose’s unfulfilled potential as a talented singer. It’s a haunting reminder of the raw talent society ignored, fueling her fury and desperation.
A Showbiz Masterpiece Revisited
The revival shines a harsh light on the compromises and sacrifices inherent in show business. Danny Burstein’s Herbie poignantly conveys the breaking point when love can no longer endure toxic ambition. Joy Woods’ Louise embodies growing cynicism, culminating in a hollow reconciliation after “Rose’s Turn”—a scene that highlights the impossibility of undoing the past. Kevin Csolak’s Tulsa offers a moment of respite, beautifully capturing aspirations in “All I Need is the Girl.”
The paradoxes of Gypsy remain intact. Laurents and Sondheim’s script accommodates the tension between the raw ambition of Rose and the human cost of her dreams. Wolfe and choreographer Camille A. Brown amplify these tensions while maintaining the show’s inherent brilliance.
A Missed Opportunity for Racial Commentary?
With McDonald at the helm, Wolfe could have leaned into a more explicitly Black interpretation, exploring the history of African American vaudeville and burlesque. While racial undertones linger, they remain unspoken. Instead, Wolfe opts for a traditional revival, foregrounding Black performers in the principal roles while leaving the larger ensemble racially mixed. This approach underscores the universality of the story but feels like an opportunity partially missed.
A Universal Rose
Wolfe’s revival extends Gypsy beyond its original 20th-century milieu, presenting it as a tale for all audiences. McDonald makes an unassailable case for Rose as a tragic hero, navigating ambition, sacrifice, and the cruel passage of time.
This Gypsy is as much a meditation on human resilience as it is a celebration of the timeless masterpiece. Wolfe and McDonald have delivered a production that dances elegantly on the edge of the paradoxes, leaving audiences with much to reflect upon. Cheers to Rose, who knows that to stop moving is to succumb to an inevitable end.
