“Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch”
Billed as ‘A Musical Fable’ (although the pedants among us would describe it as a parable), “Gypsy” camouflages its many moral messages in a sheer razzamatazz account of the real-life Gypsy Rose Lee; the highest paid striptease artist of her time. Supposedly born sometime around 1910, the date has always been unclear due to her mother, Rose, constantly re-inventing her daughters’ ages to satisfy her own needs and the fluctuating child labour laws. It is Rose herself who ultimately occupies the central theme of what has been described as one of the ‘greatest American musicals’. Then again, it is hard to go wrong with composer Jule Styne, lyricist Stephen Sondheim and writer Arthur Laurents.
Joseph Pitcher’s production is one of The Mill at Sonning’s boldest projects to date which, it is safe to say, doesn’t put a foot wrong either. From the outset we are thrust into the precarious, decadent and exciting Vaudeville world of the 1920s. The overture – worthy of a night out in itself – spills onto and beyond the stage, musicians mingling with cast and audience, characters appearing from suitcases, and a colourful hint of the kaleidoscopic range of Natalie Titchener’s outstanding costumes.
The show displays the contrasting atmospheres of the world depicted. The highs, the lows, the glamour and the shabbiness. Sisters Louise and June are growing up in this world under the formidable shadow of Rose. The ultimate ‘showbusiness mother’, she pushes her daughters into the spotlight and into her own failed dreams with disastrous effects. The more vivacious June is pushed away, while the shy Louise longs for a normal life, eventually eclipsing her mother. Ultimately, she finds her own success in the world she sought to escape, transforming into ‘Gypsy Rose Lee’. Although it is her memoirs that inform the story, it is the mother’s voice that tells it and steals the show.
Rebecca Thornhill is quite remarkable as Rose, establishing her personality as the pushy, determined, possessive matriarch. But far from grotesque. She does monstrous things but is not a monster, and Thornhill perfectly understands that dichotomy. The comedic twinkle is matched by a sincere vulnerability that pulls the character away from cartoon brashness and, amazingly, we end up really rooting for her. If “Everything’s Coming Up Roses” is a showstopping climax to the first act, just wait for her rendition of “Rosie’s Turn” in Act Two.
Evelyn Hoskins, as Louise, wears the timid awkwardness like a mantle to protect herself. When forced to shed this (and, of course, more) her wide eyed abidance is quite moving, tipped by a heart-rending moment when she gazes back at her younger self. The transformation is complete, and uplifting, as she picks up the familiar motif number “Let Me Entertain You”. It’s a fascinating journey. Lost on the way, thanks to the antics of Rose, are sister June (an impressive Marina Tavolieri) and Daniel Crowder’s big-hearted agent Herbie. Crowder skilfully steps through the eggshells Rose has laid, dispelling humour and joy and ultimately heartbreak as the armour of his illusions are shattered.
This fine company brings out the best of Styne’s score and Sondheim’s inimitable lyrics, with choreography and production values to equal any West End or Broadway revival. It is a story of contradictions and contrasts. There is a darkness that is lightened by the witty libretto and sumptuous score, and a hardness that is softened by emotionally charged performances and the slick staging. There are lessons to be learned from the ‘fable’, but it never slips into platitude.
Rose tells her daughters to “leave them begging for more – then don’t give it to them”. This production certainly leaves us wanting more, but gives it to us too. In bucketloads. “Let Me Entertain You” it proclaims. Just try stopping them! A stylish, superbly crafted show that is also steeped in sympathy for the main characters. Since its original Broadway production in 1959, producers have toyed with the ending, often leaving it open as to whether there is reconciliation. This one? Well – just go and find out for yourself.
“The production values are up there with the best”
On its release in 1935, the Fred Astaire and Ginger Rogers film of “Top Hat” was recognised for its flaws but generally it was received positively. The New York Times praised the film’s musical numbers, but criticized the storyline, describing it as “a little on the thin side”. In retrospect it was described as a “glamorous and enthralling depression-era diversion”. When the musical adaptation had its world premiere a decade ago, little, if anything, had been done to thicken out the story but six more songs by Irving Berlin were added to the eight that were featured in the film. Initially playing out of town it made its home at the Aldwych Theatre for the next year and a half.
The revival at the Mill at Sonning sees it scaled down; but only in terms of the intimacy of its playing space. The production values are up there with the best, and the feel-good spectacularity (yes, that is a word) is enhanced by being so up close to the action. Nearly a century on from the golden-age of musicals, we can still feel the glow that warms our hearts when we most need it. A “glamorous and enthralling depression-era diversion” has never been more apt a description.
Let’s get the one and only gripe out of the way. “A little on the thin side” is putting it politely. Good, that’s out of the way. The story is based on a singular comedy of error, and spun thinner, but director Jonathan O’Boyle has worked on it with an alchemist’s skill to create theatrical gold. The story follows Broadway star Jerry Travers (Jonny Labey) who arrives in London for his West End stage debut, and then promptly falls for socialite Dale Tremont (Billie-Kay). But being a screwball comedy, things do not go to plan of course. Tremont mistakes Travers for producer Horace Hardwick (Paul Kemble) – a married man – and is therefore horrified at his advances. The themes and wisecracks are pushing their sell by date, but there is nothing that can be done about that, so we are left to face the music and dance.
From the opening bar of the overture to the closing bar of the finale we are enchanted. Jonny Labey is in his element, letting his natural energy and joy wash over us in glorious waves of smooth charisma. Billie-Kay’s cool Dale Tremont counterbalances nicely, gradually warming to Travers’ irresistible charm while never letting herself boil over. Kemble gives a glorious portrayal of put-upon producer Hardwick, matched by Julia J Nagle’s crisp, classy and cool Madge – the wife who pulls the shots. A terrific ensemble fills out the space with West End pizzazz, and the smaller roles are beefed up with real comic flair: Brendan Cull is a constant delight as Bates – Hardwick’s eccentric valet. And Andy Rees hilariously hams it up as Dale’s personal dresser, Beddini.
Everyone is a triple-threat and with Ashley Nottingham’s creative, sharp, synchronistic choreography everyone shares the spotlight. Even the scene changes are choreographed into the action. Natalie Titchener’s costumes seem spun from the golden-age itself, while Jason Denvir’s ingeniously crafted Art Deco set transports us, by sheer sleight of hand, to each location – keeping up to speed with the costume changes.
Many of Irving Berlin’s best-known numbers are given the all-star treatment here. Arranged by Musical Director Francis Goodhand it is hard to believe that he is accompanied by just two other band members (Joe Atkin-Reeves on reeds and woodwind and Callum White on drums and percussion).
Ultimately, though, the show belongs to Labey. The original film was a vehicle for Fred Astaire and Labey comfortably steps into his shoes. His infectious and delightful (often cheeky) grin follows us all the way home. We also cannot shake off the froth and the feelgood factor. Entertainment dances with absurdity and it is the perfect combination. Throw in dinner as well, and the stunning setting of the Mill, you certainly feel like you’re puttin’ on the Ritz.
