If you’re considering seeing “Gypsy” at theatre 29 stop what you’re doing and make reservations now! This show is a winner and once the word gets out it will sell out in a hurry as well it should. Director Gary Daigneault has once again succeeded in bringing a big show with a large cast to the modest Theatre 29 stage and making it work. I know, I work for the guy, but he does have a definite knack for doing this. “Gypsy” is billed as “a musical fable” and this production indeed has a fairy-tale quality to it as the audience is asked to use its imagination much of the time. Don’t expect to see big flashy sets; there aren’t any. A few different backdrops and some odd pieces of furniture pretty much sum it up. In fact most of the show takes place in front of the curtain!
As often happens, Kathryn Ferguson’s costumes are far more spectacular than any of the sets. And while Mandi Pushkar’s choreography is fun and energetic (which it should be) Bob Fosse it ain’t (which it shouldn’t be). So what makes “Gypsy” a winner? In a word–talent!! Certainly a great script and terrific music help but they are only the bare bones of a show. The actors must add the flesh and blood. This the cast does in abundance. Music director Ed Will was blessed with one of the better collection of voices in one show that I’ve heard in awhile. And the music is played live which always adds to a production. Analisa Pilecki as Mama Rose is simply superb. While a relative newcomer to Theatre 29, she brings a wealth of experience to our area and we’re the richer for it. Her voice is stunning and she plays the brash, overbearing and dominating Rose to the hilt! As her character’s determination to make first one and then the other of her daughters a star gradually turns to desperation, Pilecki captures the many nuances of this complex woman beautifully.
In only his second stage appearance ever, Richard Ghan does a credible job as Herbie, Rose’s agent and would be suitor. While I have to say Ghan is one of the show’s weaker voices his energy and commitment make his performance work. As the younger versions of Louise and June, Marissa Thomas and Vanessa Walton, respectively, are both good. They play well off each other and their relationship is totally believable. Young Miss Walton’s rendition of “Let Me Entertain You” is great fun with just the right touch of daffyness. Lizzie Schmelling simply shines as the older June. She has a lovely voice and handles June’s conflict between loyalty to her mother and her own desire to be an actress with a maturity that belies her young age. Plus, her “moo cow” number is a riot and potential show stopper! I really enjoyed Katie van Sumeren as the grownup Louise, who had always lived in June’s shadow, played with nice restraint. Louise knows she doesn’t have her sister’s talent but tries her best to make Mama happy anyway. When she realizes she is a pretty girl and that there is something she’s good at, her joy and pride burst out and van Sumeren makes that transition in much the same way as I imagine the real Gypsy did. Overall her characterization is spot on.
The rest of Mama Rose’s troupe, the Newsboys, Farm Boys, Torreadorables and the Hollywood Blondes are just plain fun! These groups of not-so-talented backups are played with the tackiness they deserve. And it’s not easy for talented actors—and for the most part they are—to play untalented actors. Special kudos to Michael Ghan as Tulsa, who June marries and leaves vaudeville for. And to the always funny Cyrus Short, as well as Angela Shirley, who makes the most of her Agnes, who wants to be an Amanda role. Throughout the show, virtually all the supporting and ensemble roles are done with talent and skill. “Gypsy” is interesting because other than Mama, Herbie and Louise, none of the characters from the first act are in act two. But in the second act is another possible show stopping number, “You Gotta Get a Gimmick.” This song by three veteran strippers, played by Charlene Childs, Cindy Daigneault and Patti Brown, who are trying to show Louise the ropes of their profession, is totally rib-splitting to the point I laughed myself to tears.
Childs is especially good as Tessie Tura. The show was not without a few warts, though. Some of the scene changes seemed to take forever, there were some flubbed lines and a few technical glitches. Hopefully these will be resolved as the show progresses. Even if they aren’t, the level of sheer talent in this production more than compensates for any minor flaws. As I said at the onset, make your reservations now! Call the box office at 760-361-4151, go online to www.theatre29.org or download and use the new walletini app free from Google or Apple.
