We believe Lyric’s production of Gypsy is a Regina premiere—maybe even a first in Saskatchewan. Why hasn’t anyone mounted the show, do you think?
Even though Gypsy has a very well-known collection of songs in its score, it’s a hard musical to cast. This show requires a cast whose ages range from single digits to almost triple—lots of singing and dancing for the younger members of the cast and several large and challenging dramatic roles to fill. And—to lead into the next question—the demands of the lead role of Mama Rose are tremendous.
The character of Rose has been played by some of Broadway’s greatest female divas. How do you interpret the character? Why is she so hard on her kids?
The role of Rose is kind of hard to swallow for some people. Stage parents are living vicariously through their children. The behaviour of stage parents toward their children can seem incredibly cruel to outside eyes. In Rose’s case everything is about the fulfilment of “dreams” in which Rose has so much belief. These God-given dreams seem to grant Rose behavioural carte blanche in the pursuit of stardom for one of her children. In fact, the first thing you hear in the show is the trumpet playing the melody associated with “I had a dream.”
You’ve worked with Donna Trainor and Jeff Tonita many times. What do they bring to the lead roles in Gypsy?
Working with Donna and Jeff is nothing but joy and laughter. I first worked with Jeff 17years ago and with Donna 15 years ago. These are two people in whom I have nothing but confidence. They bring beautiful voices and acting panache to whatever they do.
Can you tell us more about the children you’ve cast for the show…the two girls who play the young daughters and the others who play talent show contestants and the members of Mama Rose’s vaudeville act? Are they all stage veterans or do you have some newcomers? Do they have to have a dance background?
It’s great to work with the kids in this show. Some have tons of dance background, and some, even at their tender ages, have a great deal of stage experience. The audience is going to love them. It’s been a great deal of fun for me to stage all of their dances.
Are you working with a choreographer? Is there much dancing?
Asked and answered, Your Honour.
The three aging strippers are fun roles. Can you tell us about the women you have cast for these parts?
It’s probably best not to call them ageing strippers! “Broken-down” is a more apt description. None of the three are old—it doesn’t really specify in the script that they are, just that they perform in a gone-to-seed burlesque house. It merely indicates bad luck, bad judgement and bad career choices. These are three tough broads and Jamie, Aubree and Jessica are doing wonderfully.
Is set important in this show? Is lighting important in the show?
Because this show is about the theatre, the set, built by Gerry Weir, is hyper-theatrical. Everything is two-dimensionally flat and, like theatre, fake: at least so long as Rose and her dreams are in charge. Everything is painted, by Lanaya Chartier, onto flats and rolling platforms. Some reality creeps in near the end as Louise (Gypsy) asserts herself and creates a life of her own. And we’re lucky enough to have a marvllous young designer, Melanie Rogowski, from the University working on the lighting as a graduating project for her degree.
Does Gypsy have a message for the audience? How will we feel when we leave the theatre?
It’s hard to say that there’s a moral to all this. This is based on the real-life story of someone who was famous for being famous. But the score is so exciting and the performances are so touching that I can’t imagine someone not wanting to see this show again and again.
Anything you’d like to add?
One other thing to mention would be the great work of Joan Ziffle (Producer) and Gillian Barker (Stage Manager)—they’re taking great care of me and the cast and deserve a huge amount of praise for their work.
