Julia L. Williams (Louise), Christine Asero (Rose) and John Pruessner (Herbie). Photography by Sally Boyett.
It would be difficult to put “Gypsy” on stage without a strong leading role—Ethel Merman’s ghost is always waiting in the wings. Now playing at the Classic Theatre of Maryland, this production of “Gypsy” does not disappoint. Driven by the talent of Christine Asero as Mama Rose and the tight direction of veteran director Sally Boyett, the energy on stage never stops.
The original 1959 Broadway production of “Gypsy” garnered eight Tony nominations, but somehow didn’t win any. Now it is considered to be one of the best musicals ever written. It is hard to go wrong with music by Jule Styne, book by Arthur Laurents, and lyrics by Stephen Sondheim.
Christine Asero as Rose is as powerful as Ethel Merman must have been in the initial production…a rousing, energetic, and fun night at the theater.
Based loosely on the 1957 memoir of Gypsy Rose Lee, “Gypsy” is about an overbearing stage mom and frustrated, wannabe actress living vicariously through her children. We are first introduced to Mama Rose as she interrupts a children’s variety production to get the music right for her daughter’s act—and chaos ensues. Rose is a single mom raising two, somewhat talented children in the Depression. We initially see her as a sympathetic character—strong-willed and overbearing, yes—doing what she has to to get by. Enter Rose’s next love interest, Herb, who become the children’s manager, and off they go across the country chasing their dreams of stardom.
Rose’s more talented daughter, Baby June, played in the first few scenes by Aliza Cohen, has a blonde Shirley Temple-like sweetness and hairstyle—but Shirley Temple she is not. Baby June is missing that spark, but never mind, she is the family’s best hope for success. Cohen is adorable as Baby June, and perhaps a little too talented to convey the awfulness of their situation. She is cute and funny, and who doesn’t like adorable kids? By the time the girls show up as teenagers, “Baby” June (Allyson Meyer) is still trying to play someone ten years younger, Shirley Temple curls and all, with her smile frozen on her face. Young Louise, June’s older sister (Julia L. Williams), is shy, less talented, and overlooked by Rose. Louise is a constant second fiddle and support team for June and, by the time they reach their teens, it is obvious both girls are sick of the same old awful act, the traveling, and their mother’s demands. The spell has broken but their mother’s authority remains, and neither sister has the power to fight back. They want their mother to marry, settle down, and leave them alone to live their own lives.
By the time June slips away with one of the dancers, Rose is no longer a sympathetic character. You can hear the wheels turning as her overbearing gaze shifts to second-fiddle Louise. The audience wonders why won’t she stop? Why doesn’t someone stop her?
Christine Asero as Rose is as powerful as Ethel Merman must have been in the initial production. She seems to cover the stage back and forth in microseconds as she deals with one catastrophe after another, her mind always on her little star. Asero’s voice booms through the theater whenever she opens her mouth, and it is easy to see how one would be worn down by her and just give in, as her children and Herb—and everyone else in her path—always do.
The shy Louise doesn’t really have another option, and eventually turns her new, solo act into the star vehicle her mother has always hoped for. Louise no longer needs her mother and it is crushing as everyone (except Rose) sees what she has lost along the way.
Asero may carry the show, but she has a strong support team behind her. John Pruessner is excellent as Herb and various ensemble parts. Miranda Kvedys, who plays young Louise, shows us in just a few lines that she is very talented and shouldn’t be second fiddle to anyone. The strippers who try to teach Louise a thing or two (Mackenzie Koehne, Zoe Kanter, and Abigail Weinel) are show-stopping as they bump and grind across the stage. The ensemble dancers who put on the shows within the show, both children and adults, are great fun to watch. The costumes by Sally Boyett are appropriately schlocky for the stage acts and beautifully tailored for the rest of the cast. The wigs, designed by Tommy Malek, are perfect. Last, but certainly not least, Sadie, Keeko, and Nayla are delightful (and so well behaved!) as Chowsie and the dog ensemble. “Gypsy” is a rousing, energetic, and fun night at the theater.
Running Time: Approximately two hours and 30 minutes including one 15-minute intermission.
Advisory: Recommended for 13+ due to themes and suggestive language. Parents may wish to do additional research before taking their younger children.
“Gypsy” runs through April 24, 2024 at Classic Theatre of Maryland, 1804 West Street, Annapolis, MD, 21401. For more information and to purchase ticket, call 410-415-3513 or go online.
