Association of Community Theatre

GYPSY

Mossley A.O. & D.S.

 

Director Lee Brennan

Musical Director Paul Firth

Choreographer Gary Jones – McCaw

 

Gypsy follows the dreams and efforts of Mama Rose, “the ultimate show business mother” and the book of the musical is loosely based on the memoirs of Gypsy Rose Lee.

 

The set design (John Buckley) and construction (the society) revealed the tawdry, brassy world of the dying days of vaudeville. The lighting created a fitting atmosphere, and the sound aided, and didn’t overwhelm the players. The costumes helped to give each character that extra layer of credibility as vaudevillians. All the props were not there just for dressing the stage, they had purpose and were used to full advantage.

 

The direction brought out all the emotion of the show, from optimism to obsession, and highlighted the cold, hard face of theatrical touring. The seedy world of the then American Burlesque Theatre of the 1920s was also captured in the production.

 

Choreography was such an important part of vaudeville shows. True to the genre the production included great dance and tapping routines.

 

The members of the company in this presentation were exactly represented a touring Vaudeville Show, a group of performers each having his or her particular part to play, and then linking with each other to form the ensemble to support the other acts. This gave strength to the overall concept.

 

Musically, Jule Styne’s score has to be one of the finest for musical theatre. I have never heard a better uplifting overture and the MD and his fine orchestra could not be faulted.

 

From the last bars of the overture onwards, the monster power house of Mama Rose burst onto the stage. She took control of Uncle Jocko’s auditions making sure her daughter, Baby June, was successful.

 

As the precocious Baby June, Holly Dewsnap gave a confident performance coupled with strong singing and dancing skills. Playing the not so talented, overlooked sister, Baby Louise, was Brodie Smith. Brodie established the character’s being second fiddle to the older Louise. All the other young members of Rose’s performing troupe have to be credited for the energy and enthusiasm they put into the realisation of the story.

 

Mama’s performing babes became older hoofers. The cross-over happened during a dance routine. They were all individual characters, one of which was Tulsa, played by Gary Jones–McCaw who danced splendidly and sang well, “All I Need Is a Girl”.

 

A booking agent was needed so enter Herbie, the long suffering human doormat, living in hope that one day he would marry Rose. Jon Crebbin couldn’t have been more kind-hearted as Herbie in his support and love of Rose.

 

Work dries up and the only booking available is a Burlesque show. Here we meet three over-the-hill strippers, Mazeppa – Claire Edgerton, Tessie – Sarah Thewlis, and Electra – Amy Turner. They give advice to Louise on how to get on in the business “You Gotta Get a Gimmick”. Passionately the three girls fleshed out the characters colourfully.

 

Claire Egerton, playing Baby June, the one who wrecks the act by running off to get married, showed a clear understanding of the role. This left Louise/Gypsy Rose Lee for Mamma to prepare to take over the star spot. Not having the same ability as her sister, she took the opportunity to fill a spot left open on a Burlesque bill.

 

The ugly duckling that Louise has thus far portrayed turns into the celebrated stripper Gyspy Rose Lee, and was solidly played by Laura Meredith–Hoyle. Rose’s dreams were shattered as Gypsy Rose made her own way to the top.

 

The harsh, sometimes scary, beloved monster mother of Gypsy Rose was skilfully portrayed by Samantha Bates. Samantha enthralled the audience. Her act two solo “Rose’s Turn” will be a lasting memory.

 

This show is a jewel in the crown of American musicals.