Gypsy Reviews

Rosebuds have a delicate beauty, but the flower is more fragrant and fascinating when it matures and opens in a complex pattern of velvety petals. That's the sort of rich, multilayered Rose Emmy Award-winning actress Kim Zimmer presented Tuesday night in The Barn Theatre's production of "Gypsy."

A sold-out house of almost 500 -- including Zimmer's husband, A.C. Weary, and sons Max and Jake -- enthusiastically welcomed the return to Augusta of the former Cascade Township resident best known for her role as Reva Shayne Lewis on the CBS daytime drama "Guiding Light."

For the next two weeks, Zimmer portrays the persuasive, pushy and sometimes playful Mama Rose, determined to make a star of daughter Baby June while plowing right over the feelings of her less talented daughter, Louise.

Based on the memoirs of burlesque queen Gypsy Rose Lee, the Jule Styne/Stephen Sondheim musical really is the story of Mama Rose. Though certainly charming, Mama Rose is not a glamour gal but a more matronly, complex character.

And Zimmer's Mama Rose commands the stage, whether she's sitting on a trunk silently contemplating her character's next move or belting out "Rose's Turn" with plenty of "me." Rose takes the lead in most of the songs -- including the heart-tugging "Everything's Coming Up Roses," endearing "Small World" and joyful "Together Wherever We Go." Zimmer's singing style is snappy and resonant, if a little hesitant on some of the high notes. But the twinkle in her eye and the expressiveness of her face adds such depth to her character that the audience is rooting for Rose even though she's incurably frustrating.

Barn regular Joe Aiello gave one of his best performances as the manager Herbie, who is in love with Rose. Curbing his usual confident personality, Aiello showed much more vulnerability and a delightful enthusiasm when Rose says she will marry him.

Amber Rees blossoms nicely, too, as the patient, self-effacing Louise, who becomes the graceful Gypsy Rose Lee. Rees is particularly fun when she's purposely awkward in the Toreadorables, and she sings great harmony with sister June (Alesia Lawson) on "If Momma was Married."

A trio of lovable strippers -- portrayed by Penelope Alex, Jana DeBusk and Mychelle Hopkins -- earned lots of laughter with the routine "You Gotta Get a Gimmick."

Director Scott Burkell uses a dramatic, artsy approach to the set, with scenes from the various towns the performers visit projected on the back screen.

A rotating proscenium arch is the only permanent set piece, serving as the curtain for the acts the children perform as well as a room partition in the hotel. With the curtain open, the proscenium frames the scenes projected on the back screen. This was less effective for those not seated in the center, because, from the sides, one leg of the proscenium blocked portions of the background scene.

But the wide-open staging, with vaudeville card carriers announcing each new location, emphasized the constant mobility of the gypsy lifestyle this family lived. Part of the power of this story is it covers more than 20 years, so by the second act, the audience feels invested in the relationships.

Vaudeville is never coming back, but you can bet "Gypsy" will keep the era alive as long as stage mothers try to live out fantasies of stardom through their children.

On the CBS soap opera "Guiding Light," Kim Zimmer's character Reva has cancer. On the Barn Theatre stage in Augusta, the Michigan native is thriving and well.

This is the Barn's seventh production of "Gypsy," but Zimmer's first shot at playing Madame Rose. And though the show is a painfully sad story that is not helped by poor construction, this is the Barn's best musical offering this summer because of brilliant acting, smart direction and inventive production values.

Though "Gypsy" is often touted as one of the great American musicals, this may be more for its strong music by Jule Styne and Stephen Sondheim than its story construction.

Despite four Broadway revivals and much reverence, the Arthur Laurents book is top heavy. Most of the show details the young lives of Louise (Amber Rees), who will go on to become Gypsy Rose Lee, and her sister June (Aleisa Lawson). They are dragged around the Vaudeville circuit by Mama Rose (Zimmer), who has high hopes for her girls after missing her opportunity to become a child star.

Rose's obsession will cost her the man who loves her, Herbie (Joe Aiello), and one daughter, June, who runs off with Tulsa (Anthony Christian Daniel). Far too much time is spent on this story, so that the transformation to, and the life of Gypsy Rose Lee, are short-changed.

But most people in the Barn's audience won't care about the story's problems. They're coming to see Reva, the ineffable Zimmer, who not only doesn't disappoint, she wows. Zimmer delivers a performance rich in detail and strong with excellent singing, proving why she's won four Daytime Emmy Awards.

Zimmer puts her own stamp on a role that has been well defined by the likes of Ethel Merman, Bernadette Peters and Rosalind Russell. And if her intricate acting and stage presence weren't enough, Zimmer proves why she's an award-winning celebrity with a powerful and awe-inspiring rendition of "Rose's Turn" to close the show.

Zimmer is not without support. Rees lights up the stage with unassuming, natural acting and a disarming smile. It's a shame that the show doesn't allow her to spend more time reveling in the freedom of being Gypsy Rose Lee. Rees does everything that is expected of her in the role and more. Likewise, Lawson, who has blown away audiences in the bar shows, makes the most of her much-deserved stage time with fantastic singing and acting.

The Barn employs an enormous cast in support of Zimmer, and though space does not allow consideration of all of them, several deserve mentions, especially Aiello, Roy Brown, Daniel, Jake Stackhouse, Amy Shelton, Penelope Alex, Mychelle Hopkins and Jana DeBusk.

The second greatest performer on the stage, however, is Scott Burkell's direction and creative production values. Each scene is identified with a sign carried across the stage in true Vaudeville tradition. Black and white photographs of various settings and people are projected on a screen throughout the show, creating an excellent, artistic pastiche. Burkell also creates an opening sequence that displays the show's pathos simply and effectively.

Zimmer is worth every penny of the ticket price just for her solos: "Some People," "Small World," "Everything's Coming Up Roses," and "Rose's Turn." The Barn surrounds her with a fabulous supporting cast and production values, making "Gypsy" the best value for your ticket dollar yet this summer.

Christopher Tower of Richland reviews theater and teaches at Western Michigan University.

Emmy winner has powerful stage presence

Published: Saturday, July 29, 2006 -- The Truth
Marcia Fulmer
Entertainment Editor

AUGUSTA, Mich. -- One of the all-time showbiz musicals, "Gypsy," opened Tuesday evening at The Barn Theatre and offered its SRO audience a close up look at the reason why stage mothers get a bad rap.

As Mama Rose, quadruple Daytime Emmy Award winner Kim Zimmer of "Guiding Light" fame demonstrated in spades the blazing intensity which drove the twice-divorced single mom to propel her daughters toward theatrical stardom -- whether they wanted it or not.

The Jule Styne/Stephen Sondheim/Arthur Laurents musical is a challenge to produce and to cast and an awesome challenge to the lady in its leading role.

As in the original 1959 production (starring leather-lunged Broadway legend Ethel Merman), Rose hits the stage running, charging into an audition for a sleazy vaudeville kids' show and browbeating the emcee (a very funny Roy Brown in Scotch plaid) into giving her daughters a chance.

Director Scott Burkell has added silent before-and-after sequences that give the audience an opportunity to applaud Zimmer initially but that ultimately set a somber mood that never quite lifts.

Zimmer is fierce in her portrayal of the wannabe performer who transfers her unyielding hopes and dreams to expectations for daughter June, inevitably resulting in June's eventual desertion. Unable to let go even then, Rose's focus shifts to Louise, the always-in-the-background older sibling who is thoroughly convinced of her own lack of talent and looks.

The CBS star has a powerful stage presence and an equally powerful belt voice which tends to fade when shifting to the upper register. There is no doubt, however, that this Rose is in control at all times. Her vulnerability is cloaked in defiance and bravado, only exposed during her final, shattering break down, "Rose's Turn," a killer finale Zimmer hits right out of the theater.

As Herbie, the agent-turned-candy-salesman-turned-agent, Joe Aiello creates a warm and sympathetic gentleman, ready to sacrifice almost anything for Rose and her children. His reaction to the "final straw" is applause-worthy.

June and Louise are depicted in two ages. As Baby June, blonde-wigged Hailey Jamann has an enviable high-kick-to-splits move and an ear-splitting yelp echoed by an identically blonde-wigged Alesia Lawson as older -- but still Baby -- June, whose frustration with kicks and curls and enforced childhood is hilariously interpreted.

Baby Louise is Kelly Seech, who bumbles through choreographer Jayme McDaniel's dance routines to set the tone for the always-bumbling Louise, played by Amber Rees. Louise is the daughter who longs for her mother's notice and wonders sadly just what birthday she is celebrating, a question she sings beautifully while holding a real "Little Lamb."

Her metamorphosis from stumbling Rose Louise to Queen of Burlesque Gypsy Rose Lee is played out in one sequence that should be more stunning than it is. The costume changes from the first rundown burlesque house in Wichita to Detroit, to Philadelphia and finally to the ultimate, New York's Minsky's, must be faster-than-light and mirror Gypsy's changes -- physical and emotional -- as confidence replaces self-doubt. They are less than dazzling.

As in every "Gypsy," the sure-fire show stopper is the second act "You Gotta Get A Gimmick," in which strippers Tessie Tura (Penelope Alex), Electra (Mychelle Hopkins) and Mazeppa (Jana DeBusk) offer insights into their chosen profession. As usual, it brought down the house.

In the "no small parts" area, Alexandra Ausman delivers a sharp bit as an impresario's guard-dog secretary, aptly named Miss Cratchitt.

"Gypsy" has a staggering number of scene changes. Burkell and scenic designer Doug Blickle have solved the problem via the use of large-screen projections of people, places and things of the period which change throughout and leave no doubt as to where and what is the setting. In front of the stage-wide screen is a large proscenium arch, complete with curtain, turned to represent a variety of stages.

The orchestra undoubtedly will improve as performances progress. Opening night horns were way off, as were several tempos.

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