Thoughts on Gypsy: How Momma Rose Steals The Show

Gypsy Rose Lee may be the namesake, but make no mistake - the star is Rose.

It’s not quite 7:30 in the morning when I step onto the treadmill, crank up the speed, and turn on the overture of Gypsy. The drum crash. The horns! The serotonin that floods my brain. I am beaming on the treadmill as if I’ve just been handed a million dollars. My feet are moving, and they are carrying me into the world of Jule Styne, Stephen Sondheim, and Arthur Laurents. A world that is titled in honor of Gypsy Rose Lee, but is dominated by Rose, an overbearing stage mother desperate for a taste of fame.

I write down in my phone notes: “There is nothing on this planet better than a good overture.”

This overture, supplied by Sid Ramin and Robert Ginzler, sets the tone for the next two hours you’ll be spending in this world. It has moments of sweeping strings, promising romance and delight, juxtaposed with big band horns and drums that demand you dance in your seat (or in my case, on the treadmill). By the end of the five minutes I am not just ready, but thrilled to be listening to this show.

Now before I get deep into my thoughts on the rest of the musical, I want to take a moment to set the scene with a little dramaturgical context.

If you don’t know, now you know:

Gypsy first came to Broadway in 1959, produced by David Merrick, directed and choreographed by Jerome Robbins, and starring goddess Ethel Merman. Now if you’re not as deep in the musical theatre canon as I am, just know that this is a dream team. This is like if Patrick Mahomes, Tyreek Hill, and Christian McCaffrey all played on the same team.

The original production played on Broadway for nearly two years, and though it was received well and nominated for 8 Tony awards, it failed to win any. What I noticed about subsequent productions is that it all revolves around the actress who plays Rose. In 1974 Angela Lansbury took on the role, in 1989 it was done by Tyne Daly, in 2003 Bernadette Peters (if I had a time machine I’d go back for that one), and of course, in 2008, Patti LuPone. Over time, Gypsy has become a vessel for the juggernauts of Broadway to chew the scenery, and after listening to the recording, I can see why. This show rests on the shoulders of the actress playing Rose, and it’s easy to feel like all the other characters fade into oblivion.

The plot of the musical is relatively simple — Rose has two daughters, Louise and June, and she shoves them both into the spotlight. In her desperation to make them famous, she drives them (and her love interest, Herbie) away, leaving her alone and unsatisfied.

Now that we’ve all caught up together, let’s chat about what works about this musical (and what I thought didn’t work as well).

The breakdown:

The opening number, “Let Me Entertain You,” is sung by young June and Louise and we hear the iconic line, “Sing out Louise!” While this song is endearing and sets up the premise of the show, you don’t really feel like you’re in it until you hear the anthem, “Some People.” This song is Rose’s “I Want” song, and is where we hear my favorite leitmotif in the show.

I have a dream.

This longing, legato melody is in direct contrast with Rose’s usual staccato, brassy feel, and makes it feel as though we are cutting straight to the soul of her character. This song is also a delightful example of something I think many musicals miss - I want songs sung to someone, not directed at the fourth wall. Gypsy is full of songs where Rose is speaking to someone, has an objective, a million delightful tactics, and ultimately, always gets what she wants (just wait until we get to Mr. Goldstone).

Moving on, we hear “Small World,” where we meet side character Herbie. I need to give an honorable mention here to Stephen Sondheim for his internal rhyme of “common” and “phenomenon” in this song. I was reading along with the lyrics and thought, “those words don’t rhyme!” But when sung, the internal rhyme of those two words clicks perfectly. It is so delightfully unexpected, so deliciously Sondheim.

Now after spending a good ten minutes with my new favorite character, Rose, I must say that every time I had to listen to June and her corny performances, I felt myself wanting to skip. I understand that we need them, it’s a part of the show, but whenever Rose leaves the stage, I just want her to come back!

The writing team appeases me with “Have An Eggroll, Mr. Goldstone.” This song was…fine. I honestly don’t understand the Chinese food theme, and after digging on the internet, still can’t find much about why it’s relevant, or why they are in a Chinese restaurant. It feels random, but so little in this show is random. If anyone is in deeper than I am, please — I’d love to know.

What this song does well is put Rose back at her best, as a character with a clear, unmovable want and an insatiable desire to get it. I think we could have still done it without the Chinese food though.

While Rose is out wooing Mr. Goldstone, June is at home singing “Little Lamb,” a little ballad that emphasizes the destruction Rose is causing in her children’s lives to satisfy her own selfish desires. It’s the first real ballad we hear, and it’s 8 tracks in. Perfect placement.

The next two tracks, “You’ll Never Get Away From Me” and “June and Her Fanboys” were skip tracks. Of course, I didn’t actually skip them, but I can assure you I won’t come back for them later. “You’ll Never Get Away From Me” is another song of Rose on a mission and is a cute exploration of her dynamic with Herbie, but pales in comparison to songs such as “Some People” or “Everything’s Coming Up Roses.”

Meanwhile, when “If Momma Was Married” played, I was sucked back in. These are the sisters I want to see! Not Dainty June or Louise (who has barely made an appearance in the show thus far), but rather two sisters, united in their desire to know their mother and have a regular life. I actually felt like this song came a little late in the act, and overall made me feel as though I wanted these girls to have more real estate in the show that was non-diagetic singing (songs where they are singing their feelings, rather than performing onstage). Needless to say, this song is a highlight of act one.

Speaking of skip tracks, “All I Need Is The Girl” is perhaps the most boring song in act one. I’m not sure if people like this song — I’ve heard it in a lot of auditions, but I don’t think it’s ever left a strong impression on me. I think this is because it’s sung by Tulsa, a character that I haven’t heard from, and by this point in the act I am impatient and just want to get back to Rose’s story.

When we do finally return to Rose, she has discovered that June has run away with Tulsa and is pivoting her dream to include Louise as the star of the show. The opening line calls back Rose’s motif of “I had a dream,” and immediately we feel that Rose is back in the driver’s seat, and the engine is roaring. Putting the act one closer in Rose’s hands is the perfect decision, and “Everything’s Coming Up Roses” perfectly lands as Rose continues to say she prioritizes others and continues to only prioritize herself.

If you can’t tell, I’m obsessed with Rose.

Diving into act two, there’s only five tracks left, which by today’s standards, isn’t much! When we hear “Madame Rose’s Toreadorables,” I understood why I had to suffer through June’s boring numbers in act one - so that I could appreciate how horrific Louise is.

“Together Wherever We Go” gave me similar feelings to “You’ll Never Get Away From Me.” A fine track that functions well and pushes the plot along, bringing Louise, Herbie, and Rose together as a trio. I have heard this song many times, and it continues to clock in as a mid-tier song for me. I think perhaps this is because it feel like Rose so quickly get’s what she wants, and a lot of this song lacks forward motion and just feels like, “We all agree! Yay!” I ask, “why do we need this song?” Why must they sing?

(However, I yet again commend Stephen for his word play regarding “B flat” and “be flat.” Immediate dopamine.)

As act two rolls along, we next get one of my unexpected standouts - “You Gotta Get A Gimmick.” This song feels like “Big Spender” from Sweet Charity’s cousin, and I am obsessed with how the different strippers have instruments tied to their acts and personalities.

Once Louise has learned from the strippers, she is ready for her big number, “Let Me Entertain You” (titled “The Strip” on the 2008 recording). This song is the 11 o’ clock number and is a masterclass in how the same lyrics and melody can be reworked with different orchestrations and musical settings to give the audience a feeling of forward motion and character development. Louise’s interstitial dialogue in this song is what really sells this tune, and while I spent the entire musical wishing we could get back to Rose’s story, it is this tune that made me think that playing Louise would be a fun role.

Gypsy concludes with “Rose’s Turn,” an incredible, unhinged moment for our leading lady, as she has been left by both her daughters and left unsatisfied. Rose is at her best and worst in this song — the most deplorable and lovable protagonist. A gruesome disaster that you feel like you have to watch. Rose effortlessly weaves through her big motifs and even takes on her daughter’s motifs, yelling to the audience, “Hello everybody! My name’s Rose! What’s yours?” It is so delicious to watch Rose, who has felt so fixed and unmovable, absolutely lose it in front of us.

The lyric shift from “Momma’s gotta go” to “Momma’s gotta let go” is divine. This lyric shift triggers my favorite section of the song, where we watch Rose turn over her decisions, asking “Why did I do it? What did it get me?” and what might be my favorite lyric in the whole show, “scrapbooks full of me in the background.” I love the image this lyric conjures, and how many mothers feel this way about their lives. We see Rose realize that though she has been the engine of the story, the story has never been hers. It’s gutting.

The last time Rose sings “I had a dream,” she is at rock bottom, and despite all of her controversial tactics and destructive behaviors, I am rooting for her so hard. Ultimately I think that is the magic of this musical — to take an unlovable character and make us all wish the best for her.

Some parting wisdom:

While I knew this show was a classic (and classics generally earn that status for a reason), I was surprised at how much I enjoyed getting to know the score. Sure, it has a few skip tracks and I find Baby June to be ear-grating, but the electricity of Rose carries the show and makes every moment of listening worth it.

While I think Jule Styne’s score is wonderful, I also think the heavy lifting is done by the great Stephen Sondheim. Even in the songs where I felt we were dragging, his wordplay and unexpected rhyme was a life raft in uncertain waters. I can’t wait to dive into more of his canon this year.

Speaking of what’s next…

We’re traveling 60 years forward in time next week to listen to Hadestown and receive a masterclass on sung-through structure and pop/musical theatre writing. I’ll be listening to the Original Broadway Cast recording, and before you get mad at me for not knowing Hadestown better, I know. I know.

I’m ready to be obsessed.

Happy listening and Happy Friday, and more to come next week!