San Diego, CA----No it’s not Ethel Merman, Rosalind Russell, Tyne Daly or even Patty LuPone. It’s our own Linda Libby who heads up the first ever big time musical, or musical for that matter, staged by ion theatre in the company’s BLKBOX space in Hillcrest. Libby, whose credits stretch from stage to TV, is bigger than life as ‘Mama Rose’ in the Arthur Laurents (book), Stephen Sondheim (lyrics) and Julie Stein (music) in what some critics refer to as ‘the great American musical’: Gypsy: A Musical Fable.
Mama Rose is the quintessential stage mother from hell who started pushing her girls June and Louise into show business when show business in the 1920’s was vaudeville just about transitioning to burlesque and talent shows were part of every theatre’s repertoire. But Rose wasn’t interested in talent shows. Her goal was to make ‘Baby June’ (Helena Marie Woods) the star she never became, come Hell or High Water!
Laurent’s book, loosely based on Gypsy: A Memoir follows the show and family business career of Gypsy Rose Lee, the famous stripper and her sister Lee, actress June Havoc, (who had nothing to do with the book) who was in fact the main object of her mother’s obsession.
Through all the ups and downs in her quest to get her girls in show business, Mama ‘Rose’ comes up with several visions of the same dream, as she belts out in Act I “Some People”, (“I had a dream, a wonderful dream, Papa, all about June in the Orpheum circuit…”) in order to push for the one right formula that will put Baby June in the spotlight.
Whether a farmboy act, a patriotic act, a newsboys act, or a giant cow head act that follows them around the circuit, Rose leaves her home and her father (Ralph Johnson), pushes through the crowds of Uncle Joko’s talent pool (Jordon Bunshaft) and even manages to snag a love interest and personal manager Herbie, (Andy Collins) who books acts for them, in her push to making a star of June.
There is no mistaking Gypsy is a BIG show. It is bigger than life on the full screen of a movie theatre and bigger than big on a full sized legitimate stage that can accommodate the big production and dance numbers that count into the teens and then some.
Ion’s production overcomes some of the shortcomings of the small space on some level but on another level its handicaps are detractors. On the down side the small stage cannot fulfill every obligation this show requires. The small playing areas designed by Raygoza are barely adequate for most of the dance numbers including “Baby June and Her Newsboys” and “You Gotta Have a Gimmick” among others. Ali Whitman’s choreography is as best she could give given the space, and as a result some of the dance numbers come up short changed.
Glitz is good as in costumes and lighting but at times both lacked oomph in this production. Joan Hansleman-Wong’s costumes are a bit rag tag in some of the earlier dance numbers but do much better when Gypsy comes out dressed to the nines as the now successful stripper and later when more fitting attire for Libby flatters her. The men fare better. Karin Filijan’s lighting design could use more illumination and Raygoza's projections do the job of placing the troupe in the right city.
The sole musical accompaniment for this production is that of a piano off to the side with Wendy Thompson valiantly pumping out the entire musical score. All but the four major players take on at least two to three different characters. More often than not it succeeds.
But big things can evolve in small places and can either be an asset or a deterrent. An orchestra in the pit or on the stage can certainly enhance a musical but the piano works. A full sized stage will compliment most musical dance numbers and period costumes often define a time, but in spite of what might be missing, Ion’s foray into the world of the musical is to be commended.
Here’s what counts. Co directors Claudio Raygoza and Kim Strassburger brought out what no amount of money can buy nor any big theatre can improvise: heart and energy, dedication and perseverance overflows in this production in the person of Linda Libby. She is straightforward and heartbreakingly transparent to the point of sympathetic.
And while her voice was on solid ground for most of the performance I attended there were times that she struggled to hit some of the higher notes. But don’t be misled. Libby’s bravura performance is worth a trip to 6th @ Penn. She is on stage throughout the entire evening. Her emotional swings range from protective mama grizzly to over zealous pushiness to the depths of depression at not having made the star status herself, to a forever optimism that few could match given the circumstances and the breath of her commitment to her daughters. Best known as a dramatic actor, she does have the chops to belt a tune out of the theatre while winning us over with her dramatic prowess.
This is after all, Mama Rose’s one last bask in the sunlight. With all the pushing, cajoling, giving up her own security and willing her daughters to succeed, Rose can only kvell in the shadows of her daughter Gypsy Rose Lee’s fame. When she belts out “Roses Turn” at the end of the second act all her frustrations break out like a dam overflowing. Like what she did to her girls or not, one has to feel an empathy towards her and Libby has that going for her.
Strong support also comes from Kate Whalley as Louise/Gypsy. Her transformation from mousy, boy looking neglected sister to rising striptease artist is eye popping. Helena Marie Woods plays Baby June with all the right emphasis on ‘Baby’ and Eric Hellmers shows talent as Tulsa the main hoofer who runs off with June mid show. Would the he could have shown off his dancing a bit more. Ralph Johnson, who assumes multiple roles is consistent throughout as is Andy Collins Herbie, Rose’s manager/go between/ love interest.
With songs like “Let Me Entertain You”, “Everything’s Coming Up Roses”, “Some People”, “Mr. Goldstone”, “Little Lamb”, “If Momma Was Married”, “Small World”, “All I Need Is The Girl”, “Together” and “Rose’s Turn” and the winning performance of Linda Libby, this is a must see show.
See you at the theatre.
Dates: Through Nov. 27th
Organization: ion theatre company
Phone: 619-600-5020
Production Type: Musical
Where: 6th @ Penn
Ticket Prices: $10.00-$34.00
Web: iontheatre.com
Venue: BLKBOX
