ENCORES: GYPSY

The Encores! series extends its winning streak with its summer production of Gypsy, which runs through July 29. Could it be more finely tuned, as suggested in Ben Brantley's dour-toned New York Times review? Sure, I think it could...but it's still very good in many ways. And I think Brantley is unfair to Patti Lupone's intriguing and intelligent take on the character of domineering Momma Rose.

One of the show's highlights comes in a kind of throwaway transitional scene that shows Momma Rose adding young boys to her troupe while traipsing over to California. Her pouncing posture is funny, a little scary, and very representative of her character. Later in the first act Lupone and Boyd Gaines (as Herbie) offer a great little duet that climaxes with the two singing as they practically tumble to the floor. It's a great routine for the two stage veterans.

In the second act there are at least three big numbers. The reliable routine in which strippers teach the basics to the future Gypsy Rose Lee is entertaining, but there's magic in the sequence showing her blossom in the trade. On the surface it might not come across as very demanding for an actor, but Benanti's performance is so polished (and her makeup and costuming so flattering) that it suddenly made the vast City Center seem very, very intimate and offered a strong case that the kind of "striptease" touted by Gypsy Rose Lee can still be erotic even in today's more jaded and openly sexualized world. (I think an adult actually escorted a child out of the theater during the episode.) And then there's the big—really big—number, "Rose's Turn," which Lupone performs with high drama without turning it into a maudlin, cringe-inducing psychodrama.

Once again Encores! offers a full orchestra with a rich and lively sound that (even with problematic violin intonation in early passages) cannot be equaled by today's small, electronically enhanced pit ensembles. And the reliably hardcore Encores! theater crowd is an attraction in itself, delighted to be entertained and very demonstrative to boot.

I do have a complaint about the venue. Due to budgetary concerns, I've been getting nosebleed seats for a while, but for Gypsy I accidentally wound up with tickets in the center of the rear mezzanine, which has to rank as one of the worst seating sections in all of New York City. The rake is too flat, which means that many heads can block views of the action. A friend and I craned this way and that to get good vantage points, but before the second act he migrated to seats in a less crowded section to one side of the rear mezzanine. I joined him there after the woman behind me pleaded for me to stop my swaying. I am pretty sure that the rake can be improved, so I think that City Center should fix it promptly and, in the meantime, find a way to label and price the seats as "obstructed" or something like that.

Here's Gypsy Rose Lee in Stage Door Canteen (which also featured original Momma Rose Ethel Merman). And is that William Burroughs at the very end?



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And here's writer Arthur Laurents on the musical and the "real" Gypsy Rose Lee.



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