Rose, the lead character in the classic 1959 musical “Gypsy,” is, in many ways, an awful person. She lies, she steals, she’s impossible to work with, and she pushes her children to satisfy her own ambitions.
But like all great theatrical monsters, she gets the best lines. And when a terrific singing actress is in the role, you can’t take your eyes off her, and you can’t help but sympathize. As former New York Times theater critic Frank Rich wrote in 1989, “Gypsy” is Broadway’s “own brassy” answer to “King Lear,” with Rose as the foolish and ultimately tragic leader who wrecks her family in trying to advance it.
Any production of “Gypsy” rises and falls with its Rose—the role originated with Ethel Merman, and has been revived with powerhouses like Bernadette Peters, Bette Midler and Patti LuPone. Now BrightSide Theatre has the good fortune of having Amy Arbizzani for the role.
Arbizzani, who won the 2005 Jeff Award for Best Actress as Lucille Frank in “Parade,” plays Momma Rose as a fast-moving tank—confident, unhesitating and oblivious to the pain she’s inflicting, until she hits a cinderblock wall of narcissistic injury in “Rose’s Turn.” Arbizzani sings beautifully—eschewing the brassy style often used in the role for a more lyrical, bell-like approach, holding onto notes at the ends of phrases. The way Arbizzani sings, you can almost see why Rose’s long-suffering fiancé, Herbie (Tom Jesse), sticks around.
With a book by Arthur Laurents, music by Jules Styne, and lyrics by Stephen Sondheim, the musical is based on the memoir of burlesque star Gypsy Rose Lee. Madame Rose tries to make vaudeville stars of her two daughters— bookish, awkward Louise and blonde, musically talented June. Their act gets progressively worse as vaudeville fades. Louise doesn’t want to be on stage at all, and pines for the approval of her mother, who too obviously favors June.
Baby June (Lanah Vurnakes) Baby Louise (Willa Zatzenbloom) and company/Photo: CM Stage Photography
Arbizzani is backed by other terrific talent, especially BrightSide veteran Jesse as Herbie and the sylph-like Emma Widlowski as a wistful, poignant Louise. The kids in this production, playing younger versions of Louise (Willa Zatzenbloom) and June (Lanah Vurnakes), are particularly good. Vurnakes is a powerhouse, doing splits and high kicks, while Zatzenbloom wears a touching, game-for-anything smile as she goes through her unconfident steps. There’s a fun trompe l’oeil with strobe lights midway through the first act, showing the child performers as they make the transition into adults. Another highlight is Trent Ramert as Tulsa, a member of Rose’s motley company, showing off his dance moves in “All I Need Is the Girl” like a young Fred Astaire.
Rose (Amy Arbizzani) and Uncle Jocko (Paul Mullen) and cast of “Gypsy”/Photo: CM Stage Photography
One quibble with this worthwhile production is the microphones—everyone wore head mics, which didn’t seem strictly necessary in a modest-sized theater with a small, offstage orchestra. This is a pet peeve—I find them distracting. Head mics are used for musicals now even in small venues, and I just have to get over it. But these mics sometimes squeaked and whined, and at one point during the opening-night performance, actors could be heard whispering to each other backstage. Likely, this problem will be amended in future shows.
Another issue is that the witty dialogue was sometimes rushed, so the jokes didn’t always land. Surely, director Jeffrey Cass wants to keep the show tight and moving. But it’s “Gypsy”—arguably America’s greatest musical. It’s okay not to be in a hurry.
“Gypsy: A Musical Fable” at BrightSide Theatre, 31 South Ellsworth, Naperville, brightsidetheatre.com. Through June 18
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