The Glory of Gypsy at the Royal Exchange
Billed as ‘a musical fable’, this sparkling production follows the highs and lows of life in show-business. We watch a pushy mother living vicariously through her daughters; an unmarried woman finding fulfilment in the shadow of the spotlight.
This is no token ‘female-fronted’ production, this is an all-singing, all-dancing extravaganza led by a loveable matriarch. As Mama Rose, Ria Jones is exceptional. At once bolshy and tender, fearless and vulnerable, she wears the mask of superb comedic timing. Rose is flippant, cynical, and tirelessly sassy - she has the audience in stitches with a single look or line.
We see Rose’s daughters as bouncing young girls turned similarly bouncing young women (albeit somewhat more repressed). The four performers of the two sisters firmly hold their own alongside the tour de force that is their onstage mother.
Louis Gaunt as Tulsa
Notable exceptions burst through the strength of the female family unit, including agent, father-figure and all-round good guy Herbie, played warmly by Dale Rapley. And Louis Gaunt as former child star, Tulsa, whose balletic breakthrough scene effortlessly brings a smile to your face.
For the most-part, the musical numbers are handled deftly by Jones, singing conversationally to enhance the narrative. Nothing seems superfluous or cringeworthy. Every song is beautifully accompanied by the balcony band and belted out with aplomb. Sondheim’s lyrics are honest, melodic and bloody funny; "Have an Eggroll" is nothing short of inspired.
Having said that, much of the first act’s sheer joy comes from the tongue-in-cheek showstoppers. Between duets and solos, we are treated to big musical numbers, each carefully crafted as a show-within-the-show. Child stars and adults alike shine as they marry impressive skill with caricatured jazz hands. What's more, Andrew Wright and Francis O’Connor combine noteworthy choreography and set design to see the cast and the stage spin; every seat at the Exchange becomes the best in the house. In one such triumphant scene, Melissa James, as the front end of a cow, takes on the difficult role of denying her own talent with faux clumsy footwork and downbeat notes. She is the stunning, modest, and indeed melodic diamond in the rough...
The second act takes a surprisingly stark turn: it is slower and quieter than the laugh-out-loud stagecraft of the first half. A slightly sinister undertone lingers in the lighting and the music. It seems disappointingly unavoidable that women in the 1930s must face struggle and sadness amongst the sparkle. Even Louise’s song of self-discovery, with all its fabulous costume changes and ensemble support, is tinged with a sense of loss. As an audience, we watch Louise become Gypsy Rose, but we’re presented the transformation as neither empowerment nor debasement. The production certainly leads with a feminist celebration of self, and yet we step into the next scene with a sinking feeling.
Melissa James enters the low-lit world of Burlesque.
The latter half of Jo Davies’ show poses an interesting quandary about the state of burlesque. Is it the inevitable end point for all theatre? Indeed, is theatre itself just a glorified strip tease? It's a rare skill for a Christmas musical to be at once cheerful and thought-provoking; a balance that Gypsy manages with prowess.
The sole moment of discomfort for me came in the form of a grotesque number in the onstage dressing room. The message itself is upsettingly true: ‘you’ve gotta have a gimmick’ if you wanna make it without talent. Yet, this drag-style parody of gruff voices and teetering heels seems a cheap laugh in a production that otherwise champions strong female roles.
After an eclectic journey, the show culminates in a heart-wrenching solo from Jones, as she finally faces her traumatic past. The final song is phenomenal and rightly afforded to the show’s heroine. But, I must confess, the musical fan in me would’ve liked one final big number…
Gypsy is happy, it's clappy, but it's far from a clichéd musical cringe-fest. For glitz, glamour, comedy, family, determination, and a delightful miniature train set, get yourself to the Royal Exchange this Christmas.
Gypsy plays at Manchester’s Royal Exchange Theatre until 25th January 2020. For tickets and more information, visit the Royal Exchange website.
(Photos by Johan Persson)
If you’re interested in musicals reimagined in the round at the Royal Exchange, check out our review of West Side Story ahead of its revival in 2020. Or delve deeper into feminist debate on Vaudeville theatre in our review of Chicago on stage.
