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| Kirsti Carnahan and Kate Simone. All photos by Joe Landry |
Kevin Connors, Music Theatre of
Connecticut’s co-founder and executive artistic director, has proven time and
again that big is not always better. Several years ago, when MTC was still in
its old (and more restricted) digs, he staged a gripping Cabaret just mere feet from the audience. Now relocated in Norwalk
Anyone familiar with American
musical theater knows the Gypsy
story-line. Suffice it to say that it’s the ultimate stage-mother show, a fable
about a mother driven to have her children succeed in show business (all the
while repressing her own desire to be a star). Bridging several decades, the
show also chronicles the decline of vaudeville, a fate that Mama Rose eventually
accepts, but it does not staunch her passions and drive. Eventually, her two
daughters would succeed, with Baby June becoming an actress (June Havoc) and
Louise the queen of burlesque (Gypsy Rose Lee).
Of course, any theatrical
production is a collaborative effort, and although Connors is to be applauded
for his staging and directing, as is Becky Timms for her choreography, neither
one could have done it alone – and they are not alone in this enterprise, for
Connors has been blessed with an exceedingly talented group of performers.
Although the show’s title is Gypsy, this is really Mama Rose’s story,
and you couldn’t ask for a more visceral, multi-layered performance of the
driven matron than what Kirsti Carnahan provides. No, she’s not a “belter” a la
Ethel Merman, who originated the role, but given the confines of MTC, “belting”
out a song is not necessary. Rather, she, under Connor’s guidance, gives a
gripping performance as a woman driven, and since the audience is so close she
doesn’t have to telegraph her character’s emotions – and there are emotions
aplenty. It’s a complete performance, so much so that Rose’s signature songs
are, if not superfluous, at least secondary to the marvelous character Carnahan
creates. This is no more in evidence than in the show’s finale, “Rose’s Turn.”
It is haunting, frightening, tender and totally gripping. I’ve seen many Gypsy productions, but I don’t think
I’ve ever been as riveted as I was when Carnahan revealed a soul in dire
distress, questioning all Mama Rose had done and all she had forsaken, giving
us a woman on the brink of despair. Her double-take, hands fluttering, as she
comes out of her fantasy to realize Gypsy has been watching her is a little
piece of acting perfection.
Carnahan’s performance is enough to
carry the show, but she doesn’t have to, for she is surrounded by some equally
talented actors. Chief among them is Kate Simone as Louise, the second-fiddle
to her younger sister who morphs into a burlesque star. The role requires that
Louise, initially shy and, as she believes, under-talented, rise to confront
her mother and demand that Mama Rose take a hard look at herself. Simone hits
all the right notes, and her confrontation with Rose late in the second act is pitch-perfect,
and she is exceptionally engaging (watch her eyes!) during the rehearsal of
“Madame Rose’s Toreadobales,” a lame rehash of the same routine Rose has been pushing
for years.
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| Joe Grandy, Carissa Massaro and Chris McNiff |
Equally on the mark is Carissa
Massaro’s Baby June, for Massaro must play the part of a winsome, overly-cute
child while she is actually a young woman who loathes what she is being forced
to do at the behest of her mother. Her duet with Simone, “If Momma Was
Married,” lets her convey all of this revulsion through song, something she
does quite well.
Then there’s the much-put-upon
Herbie, Mama Rose’s love interest, played by Paul Binotto (who does double-duty
as “Uncle Jocko” early in the show). He must be the hand that attempts to
gentle Rose’s raging ambition, and he does so with a great deal of panache,
absorbing the energy that surges from Carnahan’s Mama Rose until his character
has had enough and he breaks with Rose in a touching scene. His last line is
filled with pain and loss.
As anyone familiar with Gypsy knows, Tulsa, here played by Joe
Grandy, has a signature scene with Louise as he tells her, through dance, of
his dreams for a dance routine that will allow him to break away from Mama
Rose’s control. His “All I Need is the Girl” number covers MTC’s entire stage
as he tap-dances his hopes and desires.
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| Marca Leigh, Jodi Stevens, Jeri Kansas and Kate Simone. |
What is most revealing in this
scaled-down production is the iconic scene near the end of the second act when
the three strippers, Tessie Tura (Jeri Kansas), Electra (Marca Leigh) and
Mazeppa (Jodi Stevens) give Louise some advice about the fine art of stripping.
Again, having seen quite a few productions of this show, I was amazed at the
finely honed, comedic turns each of these actors gives to her role. What could
have been a “Yeah, yeah, seen that before” moment seemed fresh and vibrantly
alive – and totally enjoyable.
MTC’s production is truly a Gypsy re-envisioned, downscaled to fit
the confines of the stage but still larger than life. If there is one misstep,
and this is a very minor quibble, it is during Rose’s final number when she
fantasizes about what she might have accomplished on her own. As she wraps up
her number the curtains part to reveal a drop-down sign that is supposed to
emblazon Rose’s name – instead, you have to look close to figure out what the
hell that thing is hanging above Rose’s head. Surely something could have been
done to “glitz it up” a bit.
Even for those who think they
“know” Gypsy, MTC’s production is
well worth a look-see, if for no other reason than to shiver and shake as
Rose’s single-minded ambition and almost maniacal determination washes over
you. It’s an intense theatrical experience that you don’t want to miss.
Gypsy
runs through September 25. For further information or ticket reservations call
the box office at 203.454.3883 or visit: www.musictheatreofct.com.
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