Scott Ripley (Herbie), Leslie Uggams (Rose), Alanna Saunders
(June),
and Amandina Altomare (Louise). Photo: Gerry Goodstein.
and Amandina Altomare (Louise). Photo: Gerry Goodstein.
It seems almost a prerequisite that
an actress taking on the role of Mama Rose in “Gypsy” have an innate sense of
the “business,” an understanding of the grit beneath the glitter that is show
business. Ethel Merman, who created the role, certainly had that knowledge, as
did Angela Lansbury, Tyne Daly, Bernadette Peters and Patti Lupone -- all have
played the role. Now, at the Connecticut Repertory Theatre at UCONN, Leslie
Uggams takes the stage as the iconic Ur-stage mother and proves without a doubt
that she also has seen the grit. Her performance – and the entire production –
is a quite satisfying evening of theater but, as the saga of Mama, Baby June, Louise
and Herbie unfolds, you sense there is something missing.
What that “something” is is not
readily apparent, for under the steady direction of Vincent J. Cardinal, with
choreography by Cassie Abate, the production rolls along at a steady pace, with
familiar number after familiar number performed with style, but as you watch
Rose and Herbie interact it slowly dawns that what is missing is Rose’s
underlying sensuality, a power as raw as is her drive to control, her lust for
success and her desire to live life through her children. That power is what,
in part, makes Rose so terrifying, and that soupcon of terror is not there.
Rose is demanding, Rose is obnoxious, Rose is brash, Rose is bullying and
insensitive to others’ needs…but she, at least in this incarnation, is not
Lilith. Hence, the “You’ll Never Get Away From Me” number – Rose’s response to
Herbie’s threat that he might just pack up and leave – seems all surface and no
depth. Herbie can’t get away from Rose because that’s what the song’s lyrics
say, not because of the hold you feel Rose really has on the man.
That being said, there’s quite a
bit to like about this production, starting with Uggams’ performance itself.
Setting aside the “seductive” issue, she creates a quite believable Rose with
crisp, dead-on body language, exquisite timing and stares and glares that would
stop a charging bull in its tracks. Her performance is matched by that of
Amandina Altomare’s as the adult Louise – she simply glistens on stage, whether
as naïf or seasoned ecdysiast (never a mere stripper!), and her interaction
with Tulsa (Luke Hamilton) as he tries out a new dance routine (“All I Really
Need is the Girl”) is simply charming. Equally supportive are Alanna Saunders
as June and Scott Ripley as Herbie.
There are quite a few stand-out
moments in the show, chief among them June and Louise’s duet – “If Momma Was
Married” – and Louise’s education about the world of the stripper – “You Gotta
Get a Gimmick” – performed by Tessa Tura (MacKenzie Leigh Friedman), Electra
(Cassandra Dupler) and Mazeppa (Ariana Shore), with Shore setting the mood with
a hilarious send-up of the quintessential, world-weary, gauche stripper.
Of course, anyone familiar with the
show knows what all of this is leading to: “Rose’s Turn” – the show’s
emotionally riveting finale. It is here, again, that Uggams succeeds in
displaying all of her character’s quirks, foibles and fears save for her
sensuality. The number stopped the show, as it should, but there was just that hint
of unbridled passion bubbling to the surface that was missing.
CRT’s production of “Gypsy” runs
through July 20. For tickets or more information call 860-486-2113 or go to
www.crt.uconn.edu.
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