brain function facts

College Theater Departments usually steer clear of "star vehicles" and tend to go with broader musicals. Now don't misunderstand, every musical has a leading man or woman, but how many students are able to pull off Sunset Boulevard's Norma Desmond or Fiddler's Tevye? Ya gotta live life a little first.

The question that came to mind as I awaited the curtain at the College of William and Mary's Ogden Hall was "why Gypsy?" Director Laurie Wolf's program notes didn't provide a clue. Actually the Gypsy playbill didn't provide much in-depth information at all... but more about that later. During the slightly fractured overture (a few rough moments for the horn section) I was still pondering the question. When the interminable overture ended and lights came up on Uncle Jocko's kiddie talent show audition and all the kids were kinda college-size, the light began to dawn. I had my answer. Why Gypsy? Why not? It was ok. We all must suspend belief when the house lights go down and the stage lights come up.

Forget life experience. This is the theater!

As most everyone knows, Gypsy is the story of Mama Rose and her relentless efforts to fulfill her dreams of daughter 'Baby' June (Becky Evans) making it big in Vaudeville (a major form of entertainment before talkies and television...look it up). Let's just say that Mama Rose pushed her daughters on stage and lived vicariously through their careers only to be deserted by June (Jacquline Ross), who became flim actress June Haver, and eventually ousted by her younger daughter Louise (Maura Roche) after she became Gypsy, queen of the Burlesque strippers. Did Mama deserve her come uppance as the stage mother from Hell? See the play and make your own decision.

Christina Pinell's Mama Rose lacked the desperation her relentless schlepping of the kids from stage to stage in search of a break, three failed marraiges, the theft of her father's prized possession after he rebukes her request for seed money and the childhood abandonment by her mother warranted. What baggage! What rich soil to grow a multi-dimensional character! In the beginning we might mistakenly assume Rose has got moxie. One can appreciate moxie. As the story unfolds it becomes clear that she is a woman driven by forces beyond her control.

Somewhere in act 1 I realized I kinda liked Mama Rose. I don't think I should have. Worse, I almost felt sorry for her. I should have been cringing every time she opened her mouth. It got to the point I felt Herbie (Brain Zane) was something of a cad for running out on her in the end. Christina's Mama Rose was more like the stage mother from "heck." Furthermore, Ms. Pinell failed to communicate the emotional subtext when she sang "Everything's Coming Up Roses." Out of context and on the surface it seems a joyous, rousing number. In context, it is the desperate cry of a woman on the edge trying to convince herself she can make it. I didn't buy it. She sang it well, but it didn't resonate. (and an apparent lighting error caused what was left of her blockbuster moment at the end of act one to be lost)

The truths to be culled from Arthur Laurent's book and Sondheim's lyric are made crystal clear in the final number, "Rose's Turn," an absolute tour de force for any actress with an eye for makng a home of the musical theater stage. Everything that drives Rose is laid bare in the number. As she commands an empty stage (save for the ghost light) we glimpse what might have been. And even though her mother abandoned her as a child she is continually trying to win her approval. It is powerful stuff...diva-esque. (Did I just coin that?) Christina sang the number well, but the gut wrenching revelations didn't connect.

Brian Zane's Herbie was enjoyable. His singing voice was up to the task and I found his character believable with warmth, charm and a touch of sadness.

As Louise, Maura Roch had the task of convincing the audience she was performing without talent...it seemed difficult for her. Her singing voice was strong and her face full of expression. "Little Lamb" was lovely.
Now, it could have been due to the problem she had pinning up her hair or wardrobe malfunctions during multiple strip sequences or even opening night jitters, but when she assumed the persona of Gypsy, from first strip through her meteoric rise to fame, she seemed ill at ease. Each time, Ms. Roch looked to be in a hurry to get it over with. She missed a golden opportunity to play off the audience (and I even had a pocket full of singles!)...something a more experienced performer might have exploited.

Patricia M. Wesp's costumes were awfully tame. The three strippers' getups for "Ya Gotta Get A Gimmick" wouldn't have caused an eyebrow to cock on bingo night at the Legion Hall. A little sleeze would have been apropriate. Gypsy's stuff was underwelming as well.

The choreography provided by George and Georgina Spelvin (where have I heard that name before?) was disappointing. Even though it was supposed to look amatuerish...childish if you will, it should have been entertaining. Tulsa's (S. Lewis Feemster) solo number in no way resembled a "star" in the making. I expected better dancing in a main stage college production.

The orchestra, led by Gary L Green, appeared to struggle with the massive score, however Cayla Neidlinger's wonderful cello playing deserves mention. I don't know how anyone on stage could hear the piano. I was in row D and couldn't hear it.

Apparently funds are tight and space is limited, but in the future it might serve to have the program give a tad more information on cast and production staff. I would liked to have known if Tulsa was a first year acting student or dance major. It might have been nice to know if Ms. Pinnell is a graduate student seeking her masters in musical theater and so on. Full bios are not necessary, but more than a name would be appreciated.

I remember Sondheim extolling his respect for those on stage in musical theater. He made reference to their having to be able to successfully advance story, emotion and context through book, song and/or dance. He referred to them as "performers" instead of actors.Those who have had the honor to tread the boards in a musical understand the work that goes into such a production.
There is another weekend of performances of Gypsy and, though it ain't what it could be, it still makes for a long but entertaining evening. Support your local college theater departments. Their endeavors to turn out well trained performers and technical staff deserves our support!

Mike Diana