Being so heavily based on a front-on theatre form like
Vaudeville, it’s a challenge producing a show like Gypsy completely in the
round. Manchester’s Royal Exchange pull it off with impressive flair in their
unique space which is almost a theatre turned inside out to begin with
Capitalising on the fact that Exchange audiences are
effectively backstage before we enter the theatre, Francis O’Connor’s set shows
us the story very much from behind the scenes. A fragmented proscenium arch
bisects the circular revolve of the stage and rotates independently of it, so
that the production gives us a frequently changing viewpoint.
This staging enables director Jo Davies to keep immersing us
in the world of her characters, only occasionally giving us a full frontal view
of the performance within the play. It’s a concept that helps to connect us
with their internal stories, and also keeps the piece shifting along at a
decent pace. This is helpful, in that this ‘Musical Fable’ does have extended
passages of straight drama separating the songs, and it needs to press forward.
Although there are some points where the spoken dialogue begins to drag its
heels, we never feel too far away from another musical routine.
With its book by Arthur Laurents and music and lyrics from
Jule Styne and Stephen Sondheim, Gypsy tells a pretty gritty tale. To some
extent it’s the story of how Louise succeeds in climbing up the slippery slope that
her pushy mother Rose shoves her down, eventually finding success as Gypsy Rose
Lee in the brutally misogynistic world of burlesque. It can be hard finding the
right balance for Rose’s motivation, with some productions turning her into a
monster and others making her a powerfully protective and supportive mother.
Here, Ria Jones plays the part thoughtfully. Rose is hardly a sympathetic
character, but there’s a big element of her own nurture that comes into play.
We’re made to feel that she is trying to push her daughters on to achieve the
things she never could, after her own abandonment in childhood. When her
favourite, June, elopes with Tulsa, the neglected second-best Louise becomes
the focus of her ambition, and the compromises roll in thick and fast.
Jones delivers big-time vocally, taking us back to the
punchy style of Ethel Merman, but she can also rein back the bombast in the
frequent scenes of disappointment and broken dreams. Melissa James does a great
job of allowing Louise to grow in confidence as she gradually takes control of
her life. Meanwhile Melissa Lowe gives a good turn as the precocious June, and
Louis Gaunt’s Tulsa is particularly impressive, with both very strong vocals
and outstanding footwork.
There are great supporting performances too, especially from
Suzie Chard, Kate O’Donnell and Rebecca Thornhill as Mazeppa, Electra and
Tessie Tura. The group of children who double the roles in the earlier scenes
are exceptional too, particularly Marley Quinlan Gardner and Maddison Arnold
playing the young June and Louise, part of the Red Team on the night in
question. A second children’s group play alternate performances.
With excellent musical accompaniment from the 9 piece band,
under the musical direction of Leo Munby, this is a very fine production of a
work that’s fraught with dramatic and pacing challenges.
This Royal Exchange Christmas show was originally set to end
on 25th January, but has already had its run extended by a further week.
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| Ria Jones as Rose - image credit Johan Persson |
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| Melissa James, Ria Jones and ensemble - image credit Johan Persson |
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| Ria Jones as Rose - image credit Johan Persson |
Star Rating: four stars
Cast includes:
Roshani Abbey, Stephen Casey, Suzie Chard, Alastair
Crosswell, Louis Gaunt, Amie Hibbert, Melissa James, Ria Jones, Melissa Lowe,
Kody Mortimer, Bryan Mottram, Lizzie Nance, Kate O'Donnell, Marianne Phillips,
Dale Rapley, Michael S. Siegel, Rebecca Thornhill
ENDS
This review was originally written for publication by Musical Theatre Review
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