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GYPSY
Book by Arthur Larents Lyrics by Stephen Sondheim Music by Jule Styne Directed by Rick Hamilton Choreographed by Kami Seymour Musical Direction by Michael Liepper Producer: Richard Mazda Stage Manager: Justin Hsu Costumer: Antonio Consuegra Set Designer: Melissa Anderson Lighting Designer: Zach Weeks |
Gypsy is deeply rooted in the 1920s and 30s, during a time when live theatre was pushing boundaries, becoming more risqué in an effort to retain audiences who were drawn to the allure of the “talkies.”
Almost a century later, with sensationalism and scandal still the most powerful marketing motivators, The Secret Theatre's Off-Off Broadway production of Gypsy scaled back the spectacle often associated with the show to instead focus on the heart of the piece – family. Rose is a single mom who wants a better life for herself and her children. Louise is a girl forced to grow up too quickly whose one wish is for her mother’s affection.
While retaining the original time period of the show, we assembled a multicultural cast reflecting the rich diversity of Queens, highlighting the common humanity that lies at the core of this landmark musical. See more on casting below.
Almost a century later, with sensationalism and scandal still the most powerful marketing motivators, The Secret Theatre's Off-Off Broadway production of Gypsy scaled back the spectacle often associated with the show to instead focus on the heart of the piece – family. Rose is a single mom who wants a better life for herself and her children. Louise is a girl forced to grow up too quickly whose one wish is for her mother’s affection.
While retaining the original time period of the show, we assembled a multicultural cast reflecting the rich diversity of Queens, highlighting the common humanity that lies at the core of this landmark musical. See more on casting below.
Reviews:
"Gypsy is a can’t-miss when done well – as it is in the Secret Theatre’s sinewy new production. Rick Hamilton’s agile direction glues it all together. The scrappy Secret Theatre has done well by another classic big musical."
Jon Sobel, blogcritics.org
"It’s a big show which, under the direction of Rick Hamilton, has been streamlined to accommodate The Secret Theatre’s intimate setting. The key dramatic moments, particularly the final moments between Rose and her shy daughter, Louise, who has been transformed into the world-famous burlesque queen Gypsy Rose Lee, are especially poignant."
Mark Lord, Queens Chronicle
Jon Sobel, blogcritics.org
"It’s a big show which, under the direction of Rick Hamilton, has been streamlined to accommodate The Secret Theatre’s intimate setting. The key dramatic moments, particularly the final moments between Rose and her shy daughter, Louise, who has been transformed into the world-famous burlesque queen Gypsy Rose Lee, are especially poignant."
Mark Lord, Queens Chronicle
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Off-Off Broadway Cast:
Rose Marcie Henderson Louise Mary Lauren Herbie Greg Horton Dainty June Taylor Elise Rector Pop, et al Rory Lance Goldstone, et al C.L. Weatherstone Tessie Tura Blayne Gregg-Miller Mazeppa Alyssa Orapallo Electra Samantha Pistoresi Tulsa Gregory Omar Osbourne Yonkers Jorge Echeverria Agnes Alexis Ebers Marjorie May Kaitlyn Swygard Dolores Devon Meddock Baby June Olivia Culver Baby Louise Julia Mechner Young Tulsa Vivian Defalco Young Yonkers Brandon D'Elia Young LA Maddie Ward |
Photos by Reiko Yanagi
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Color-Conscious vs. Creative Casting
There have recently been an increasing number of news stories about color-conscious casting. From block-buster films to high school musicals, there is a growing awareness that characters of color should be played by actors of color and not white-washed out of a story—or worse, played in brown-, yellow- or black-face. But what of the reverse? What of a character, based on a real woman who was Caucasian? Should one of the best roles written for the musical theatre be off limits to all non-white women?
Our casting call gave us options for Rose of all shapes and sizes. One in particular brought something unique to the table. On top of her incredible talent, she had no pre-conceived notions about the role. It was not a role she’d ever thought she would be able to play simply because of the pigment of her skin. And so, we were able to approach this production of Gypsy with fresh eyes and build the character from the script up, without regard to how Rose had ever been played previously.
We brought together a multicultural cast, representative of our wonderful borough of Queens. But we considered this a “creative casting” production. Rose’s father and children are not being played by actors of color. The boys in June’s act are played by actors of various nationalities. We are fully aware that during the 1920s and ‘30s, when the show is set, they would not have been allowed to perform together onstage. And that the period’s miscegenation laws would have hindered Rose and Herbie’s plans for marriage. We didn't ignore these horrible aspects of history but felt it would perpetuate them by keeping these cast members out of our production.
Arthur Laurents, who wrote the script, subtitled it “a musical fable,” because he felt he’d stretched the story far enough from the truth that it was not tightly bound to the actual people and events. The theatricality of our production allowed a stuffed dog and lamb to substitute for living animals and released the binding limits of race on these amazing characters.
Our casting call gave us options for Rose of all shapes and sizes. One in particular brought something unique to the table. On top of her incredible talent, she had no pre-conceived notions about the role. It was not a role she’d ever thought she would be able to play simply because of the pigment of her skin. And so, we were able to approach this production of Gypsy with fresh eyes and build the character from the script up, without regard to how Rose had ever been played previously.
We brought together a multicultural cast, representative of our wonderful borough of Queens. But we considered this a “creative casting” production. Rose’s father and children are not being played by actors of color. The boys in June’s act are played by actors of various nationalities. We are fully aware that during the 1920s and ‘30s, when the show is set, they would not have been allowed to perform together onstage. And that the period’s miscegenation laws would have hindered Rose and Herbie’s plans for marriage. We didn't ignore these horrible aspects of history but felt it would perpetuate them by keeping these cast members out of our production.
Arthur Laurents, who wrote the script, subtitled it “a musical fable,” because he felt he’d stretched the story far enough from the truth that it was not tightly bound to the actual people and events. The theatricality of our production allowed a stuffed dog and lamb to substitute for living animals and released the binding limits of race on these amazing characters.