Above : Lauren Mitchell and Emily Dreyer in GYPSY
Emily Dreyer and Matthew Collingwood in GYPSY
Theatre is a means of rapid transportation.
With the classic 1949 Broadway musical GYPSY, book by Arthur Laurents, lyrics by Jule Styne and lyrics by the great Stephen Sondheim, we are transported to the show business world in America in the 1920’s and 1930’s, a challenging era which spanned the vaudeville era’s decline and the rise of burlesque.
The show is loosely based on the 1957 memoirs of striptease artist Gypsy Rose Lee which was mainly about her mother Rose. The narrative follows Rose’s journey across part of America to find show business careers for her two daughters, June and Louise. Rose is the ultimate show business mother, and is a great part for an actor to play. The great Ethel Merman famously played the role.
This current North Shore Theatre revival, directed by Matt Dorahy, is a lively, colourful production that does, as promised in the classic song, entertain us.
Hayley Driscoll was outstanding as the narcissistic matriarch Rose who wasn’t so much interested in the welfare of her two daughters as she was desperate to find fulfilment in her life, as she wasn’t able to realise her own show business ambitions.
Emily Dreyer was great as the timid, sweet natured, insecure girl Louise, and young woman who enjoys sewing costumes and singing backup, and only comes in to the spotlight when her sister bows out. Personally speaking, I wasn’t greatly convinced the character’s transformation from being a shy girl to the rambunctious Gypsy Rose Lee.
Lauren Mitchell played the more favoured daughter, June. June starts off being the more talented daughter; a bratty, gifted tap dancer with big dreams, who quits what looks like having a brilliant career, to get married.
Matthew Collingwood starts off nervously but soon gets in to his rhythm as Herbie, a good natured, middle aged guy who takes a sheen to Rose, and has a good rapport with her two daughters. Rose however only has her eyes on one prize, her daughters to make it in show business.
Elijah Williams played Tulsa, an ambitious, talented, charming, persistent chorus boy who dreams of having his own act with Louise.
Tali Greenfield was the spunky stripper mentor, Tessie Tura.
Meghann Patten played the tough drummer with a brassy edge, Mazeppa, as well as Miss Cratchitt.
Fleur Melody played the sparky-bulb act with quirky glamour, Electra, and Mr Goldstone.
Jade Old was the loud and sleazy carnival barker, Uncle Joko, who runs the local burlesque scene.
Chelsea Weldon was a fun, lively presence as the goofy, good natured Yonkers.
The other comic star of the show is the cow, played with much comic flair and plenty of nifty backside movements.
These were the main characters driving the story which also included a lively ensemble. And not to forget the kids who gave such lively performances; Ruby MacMahon Jackman as Baby June, Skye Spiden as Baby Louise, Max Clohessy as young Tulsa, Chloe Wang as Young Yonkers, Ashlyn Mun as Young L.A. and Milli Wakeman as Young Angie. One even gets to see them do some fantastic cartwheels.
It is important to say here that with this production, there are two casts with alternating performances, do best to purchase a program, for proper credits.
There were many great tunes in the show; LET ME ENTERTAIN YOU performed by Baby June and Baby Louise as young vaudeville performers, later performed by Emily Dreyer as Gypsy Rose Lee in burlesque, BABY JUNE AND HER NEWBOYS, a vaudeville act led by young June, backed by Louise and a boy chorus, showcasing Rose’s ambitions for her daughter, ALL I NEED IS THE GIRL, performed any Tulsa, a chorus boy of his own act with Louise, YOU GOTTA A GIMMICK, where burlesque strippers Tessa Tura, Mazeppa and Elektra teach Louise about standing out in the burlesque would featuring a comedic, brassy trio number, and then the classic, show stopping final number, ROSIE’S TURN featuring Hayley Driscoll’s outstanding vocals.
Jess Luth and Georgia van der Sman’s choreography is rooted in the theatrical and vaudeville traditions of the early 20th century,
reflecting the show’s narrative of a family’s journey from the fading world of vaudeville to the tough, racy burlesque world. The feature of the vaudeville world was tap soft shoe, jazz and character driven movements.The burlesque scenes featured looser, bolder movements – hip rolls, struts and fan kicks.
Michael Haratzis’ was cléverly designed with a building facade at the front with a classic Hollywood fade at the top. There was also a ‘gateway’ in the middle, which was the main entrance for the actors, and behind which one could see the orchestra
This was a very fine orchestra led by conductor and music director, Xia Lian Wilson.
Recommended, North Shore Theatre Company production, GYPSY, book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, is playing the Zenith Theatre, corner Railway Street and MacIntosh street, Chatswood until Saturday 27th September 2025. Remaining performances are Werdnesday 24 September at 7.30pm, Thursday 25th September at 7.30pm, Friday 26the September at 7.30pm and the final performance is a matinee on Saturday 27th September at 2pm.
Production photography by Yingyang Zhang
htpps://www.northshoretheatrecopany.org
