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Gypsy, based on striptease artist Gypsy Rose Lee’s 1957 memoirs, is an equally delightful and disturbing tale of the domineering “ultimate stage mother,” Momma Rose, and her relentless efforts to push her daughters into show business. The girls, shy Louise (based on Lee) and bubbly Baby June, begin the show performing their kiddy act on the vaudeville circuit in the 1920s. Before long, June and Louise reveal to the audience their frustration with Rose’s stubborn delusions of stardom. Eventually June escapes and Rose shifts her aggressive focus to Louise. In a dying age of vaudeville they find themselves booked at a burlesque house as a last shot. Desperate, Louise ends up forced into an awkward striptease, over time excelling and becoming the famous Gypsy Rose Lee. Rose finally has her “star,” yet it does not satisfy and she admits all her aggressive stage-mothering was not for her daughters, but was the result of her own unrequited dreams of celebrity.

At times this story is certainly cringe-worthy, especially when Rose gets that demented sparkle in her eye that always results in shameful treatment of her children. However the highly talented actors of MTH made this production enjoyable and affective. Led by distinguished local actress Deb Bluford as Momma Rose, the entire cast was excited, energized, and gave each character the emotional depth and complexity they deserved.

As the maddeningly self-serving Momma Rose, Deb Bluford easily captured the audience and made her character still a pill, but easier to swallow. Bluford fully embodied Rose’s equal parts hilarious, irksome and piteous character. Her robust and brassy voice brought her solo features “Some People,” the classic “Everything’s Coming Up Roses” and the show-stopping, ego-driven finale “Rose’s Turn” to extraordinary life.

Kip Niven played the girls’ manager and Rose’s inexplicable love-interest Herbie wonderfully. His warm and tender demeanor went perfectly with his tenor voice. Near the end, Niven’s explosive portrayal of a man at his emotional limit was powerfully disquieting. His duet with Rose on “You’ll Never Get Away from Me” was a highlight of the first act.

Vanessa Severo’s seamless transition from the naïve young Louise to vampy and worldly Gypsy Rose Lee was natural and flawless. Her vocal styles—sweetly wispy on “Little Lamb” and later confident and velvety on the slinky reprise of “Let Me Entertain You”—were convincing and contributed nicely to her character’s development and ultimate transformation.

Other noteworthy performances include Molly Denninghoff as the plucky yet irritated June, Sam Cordes as the charming Tulsa, and the trio of unique strippers who teach Louise “You Gotta Have Gimmick” to make it in burlesque, played boisterously by Kenzie West, Allison Moody and (with some fun stunt casting) David Ollington. Special kudos to the youngest actors as well—they clearly committed their hearts and souls to their respective parts.

The production was simply mounted with minimal scenery and props. The only “costumes” per se belonged to Gypsy Rose Lee, as throughout the show the actors were largely dressed in all black with a few red accents. A row of microphones and stands lined the front of the stage, where characters faced the audience rather than each other during scenes and songs. Even with this arrangement the actors still shared excellent chemistry and timing, and scene changes were cleverly executed using choreography and lighting. Aside from occasional balance issues, tight intonation and appropriate vibrato were found in all voices, with crisp diction and enunciation as well. The show had a few noticeable “off” moments, which were entirely forgivable and likely just symptoms of opening-night eagerness.

Musical Theater Heritage’s Gypsy runs through May 29 at Off Center Theatre in Crown Center.

REVIEW:
Musical Theater Heritage
Gypsy
Thursday, May 12–29, 2011 (Thursday, May 12 Reviewed)
Off Center Theatre in Crown Center
2450 Grand Blvd, Kansas City, MO
For more information visit www.musicaltheaterheritage.com

Top Photo: Deb Bluford

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.

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