BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: April 2, 2008

GYPSY

They must have had GYPSY in mind when they invented the eleven o'clock number and they must have had Patti Lupone in mind when they invented GYPSY. It would seem so, after experiencing her detonating interpretation of one of the theater's most intriguing characters. And, with Lupone's pipes and Rose's pluck, this is a combo that could really make it to the big time.

Well, shucks! It has. Patti Lupone has finally reached age-appropriate to play the role destiny had designed for her. (Okay, the second one destiny had in mind.) Treading the boards with fierce determination, Lupone becomes the most driven stage mother in theatre history and we love it.

From the opening moment, this dynamic diva makes us all collectively cringe as she selflessly, or shamelessly, sacrifices for her kids. Remarkably, Lupone pushes the audience as much as Rose pushes Baby June and everyone else around her, only to complain that, sooner or later, everyone walks out on her. It never crosses Rose's mind that she drives them out. But, not the audience. The audience stays glued to the seats, transfixed like insatiable addicts awaiting the apotheosis of Patti.

And, then it happens. Lupone blows in front of the lush red curtain of the St. James Theatre like The Tasmanian Devil. And, sure enough, with the force that lulled us in SWEENEY TODD, tickled us in NOISES OFF and flabbergasted us in her Tony turn as EVITA, she brings the house down with the show-stopper to end all show-stoppers, "Rose's Turn."

Patti Lupone does not ask, she demands we take notice of her. It's hard to believe that composer Jule Styne, lyricist Stephen Sondheim and author Arthur Laurents did not have her in mind when their pens first hit the page. Against those who came before her—Merman, Lansbury, Daly and Peters—Patti certainly holds her own.

In this latest revival, once again directed by the now 90-year-old Arthur Laurents, the strength of the supporting cast is inescapable. Three-time Tony-winner Boyd Gaines brings a sweet earnestness to the loveable Herbie and it only makes you feel more sorry for the fellow. Laura Benanti fully uses every bit of her pedigree to cultivate the pupae Louise into the glistening butterfly, Gyspy Rose Lee.

Tony Yazbeck kicks up some dust as Tulsa. Leigh Ann Larkin shows us the gritty side of Dainty June. Lenora Nemetz blows a mean Mazeppa. Marilyn Caskey highlights the dim wattage of Electra quite nicely and Alison Fraser grabs her moment as Tessie Tura, a stripper who knows how to maximize her lack of talent.

Scenery by James Youmans retains the utilitarian approach of the production's Encores! series roots. The reliable lighting of Howard Binkley shimmers throughout, particularly during the brilliant transitional sequence when Baby June and Baby Louise grow up right before our eyes. Clever costumes by Martin Pakledinaz complete the tableau, helping to make this one GYPSY you are certain not to walk out on.