‘Gypsy: A Musical Fable’

Pitlochry Festival Theatre - 29/05/23

Book by Arthur Laurents | Music by Jules Styne | Lyrics by Stephen Sondheim | Entire production originally directed and choreographed by Jerome Robbins

This dynamic show is pure theatrical joy. Pitlochry Festival theatre and director Ben Occhipinti have pulled off one of the canons of show business with a terrific production and ensemble to die for.

It’s a brave artistic director who decides to produce this show and that is why it is so rarely revived in the UK. Who would dare to mount a show which was written by the team of Arthur Laurents, Jules Styne and Stephen Sondheim, let alone originally staged by the master Jerome Robbins. It needs a leading lady who is not afraid of following in the footsteps of Ethel Merman, Rosalind Russel, Pattie LuPone, Angela Lansbury, and Imelda Staunton. But Pitlochry have found her in Shona White.

I was in trepidation of reviewing this show. Only two productions have graced the West End. In 1974 and the acclaimed 2015 show. Can they really do it justice? And will audiences come and see a show which is not so well known in the UK? Perhaps the core older audiences who remember the 1962 film will. Of course, the songs are familiar and, in our DNA, but who has heard of Gypsy Rose Lee, and who understands the difference between Vaudeville and Burlesque? Will it hit the right note with younger patrons? But the matinee audience certainly took it to their heart with a standing ovation and a look of awe on their faces.

For those of you younger readers the story is based on the memoirs of burlesque entertainer Gypsy Rose Lee, focusing on her mother, Rose, whose name has become synonymous with the ultimate show business mother. It follows the dreams and efforts of Rose to raise two daughters to perform on stage and casts an affectionate eye over the hardships of touring show business life on the Vaudeville circuit.  

Mama Rose is a recognisable icon for everyone who has been in the business. I must confess that once the band struck up the overture, I was close to tears. The six-piece band placed stage right dominated by a large revolving stage with velvet tabs. The setting for the big numbers. They immediately got to grips with the score, usually played by a large pit orchestra. Not only did they supply multiple characters in the story as well as providing the music and song. A fine example of today’s talented triple threats. The opening interruption is the familiar ‘Sing Out Baby June’, as Mama Rose encourages her daughters with their audition routine setting the pace for the story. When the 1962 film hit the screens, this line was heard in every West End dressing room. The rest is theatre history.

It takes a consummate and experienced performer to take on and play Mama. Shona White was truly in this class. She could vocally produce the big numbers, including the finale on stage alone ‘Rose’s Turn’. She wholly embodied Rose delivering ‘Everything’s Coming up Roses’ and ‘Some People’,  and never lost the energy required for the role. Ben Stock playing Herbie was a delight, matching her perfectly in ‘You’ll Never Get Away from Me’. Also bringing more depth to the role, almost matching Mama in energy and delivery. They are both delivering a ‘Greatest Musicals of All time’ later in the season. Look out for that.

The delightful Blythe Jandoo brought more depth to the role of Louise than one expected. Her rendition of ‘Little Lamb’ was pitch perfect and the transition to Gypsy Rose Lee in the second act was classy and moving. Plus coping with some quick costume changes. Patricia Panther obviously enjoyed playing June, over the top and managing the obligatory splits at the end of each performance. Playing Tulsa, Robbie Scott gave a standout Gene Kelly solo taking on ‘All I Need is a Girl’.

And when it came to ‘You Gotta Have a Gimmick’ it was time for the musicians to show their singing and performing skills. Kristen Wellchen Wong left her piano for a ballet tutu and gave us Tessie Tura all in the best possible taste. Trudy Ward, abandoning her double bass, lit up the stage as Electra and Rachael McAllister blasted her way as Mazeppa.  

But in the end the show relies on the artist playing Mama Rose. It’s a hard act to follow some of the greats of the stage, especially in this star driven age, but Shona White can certainly join them. Her standout powerful performance was so balanced, giving the story and the other players more depth. This created an understanding of what drove her and why she lost in the end.  

This beautifully directed and produced show certainly has legs and I hope at the end of the run it goes on to greater heights. It is rare that I come out from a show and then feel I want to see it all over again. A classic theatre experience not to be missed.  

‘Gypsy’ runs in repertoire at Pitlochry Festival theatre until Saturday 30th of September.