Blythe Jandoo, Shona White and Ben Stock in Gypsy at the Pitlochry Festival Theatre. Picture: Fraser Band
Gypsy continues in repertory at the Pitlochry Festival Theatre until 30 September 2023.
Star rating: four stars ★ ★ ★ ★ ✩
In the age of talent shows packing our television schedules, Gypsy serves as a study of the domineering stage mother, fulfilling their own thwarted dreams through their children. This show may have debuted in 1959, but it is still has a clear contemporary resonance.
This production uses a revolving stage box, taking up the centre of the space: the lives of the characters are played out on the periphery – an illustration of their stage-centred lives. The onstage band integrates with the action throughout. There are several instances where instruments are played in character, creating a natural bridge into the songs.
This multi-talented group performs the score beautifully, and what a score this is! As fresh as the day it opened on Broadway, Jules Styne’s music is deftly paired with the young Stephen Sondheim’s witty and sensitive lyrics. In a more contemporary performance style, the songs are rarely given full ‘belt’, particularly in the upper register, making the numbers take on a more intimate level.
In Shona White’s outstanding performance as Mama Rose, we see the mother as never being still, constantly dreaming up new performance pieces for her beloved daughter, June (Patricia Panther), to take the stage by storm. Featuring a group of other children, the sketches tour the circuit of vaudeville houses – a circuit that is becoming smaller and less wealthy as time passes, but none of this deters Rose – her constant dreams with the expectation that ‘something will turn up’ paints a character not too dissimilar from Dickens’ Micawber. Her stunning vocal for ‘Rose’s Turn’ stops the show – rightly so.
Rose’s relationship with Herbie (Ben Stock) reveals a beautiful partnership, particularly in ‘You’ll Never Get Away From Me’ – utterly wonderful. Stock brings us a Herbie who is besotted by Rose, chasing her dreams alongside her, capturing every nuance in Arthur Laurents’ perfectly paced script.
The design of the production suggests the period in a film noir style, paired with wafts of stage smoke evoking a seedier reality than the world Rose sees herself living in. The level of detail in the costumes support the atmosphere of the era – a shabby glamour that’s perfect for the age.
The ‘spectacular’ sketches featuring a maturing Baby June with her ensemble of other ageing children become increasingly ‘tired’. Maggie Rawlinson’s choreography here is brilliant with just enough of the cast not quite on time or in the right place to send it up, winning many laughs from the audience. As these children grow up and leave Rose, with the ultimate loss of June, her spotlight moves to Louise – the dependable, sensible daughter who is a whizz with a sewing needle, if lacking June’s ability to squeal and high-kick!
The burlesque dressing room advice from Mazeppa (Rachael McAllister), Electra (Trudy Ward) and Tessie Tura (Kristin Weichen Wong) is a touch more demure than is often the case in ‘You Gotta Get a Gimmick’. Rose hastily creates a new dream for Louise (Blythe Jandoo). As Louise transforms from the plucky, likeable sister and daughter, Blythe is a study in calm stillness in contrast to the frenetic activity around her. The way her energy builds through a series of vignettes is joyous.
Ben Occhipinti’s production is highly recommended – Gypsy steals your heart. And the songs will live in your head for days after.
Fiona Orr
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