Look Mama, I'm Pretty

And more on Audra's unapologetic ode to Mama Rose

The other day, my sister texted me and said, “Do you think mom’s calling was to be a mother?” It was a pretty packed question for a Sunday afternoon, but I found it fair. Only recently had I considered my mom’s life before 1997. Who she was, what she loved, her ex-boyfriends, old friends, her lore, as some would put it. And it’s not because I didn’t think my mother wasn’t a person before my sister and I, believe me, she was; it’s just that I never thought about how motherhood changed her, altered her personality, or shifted her worldview. Maybe even brought out parts of herself she didn’t know existed.

My mom always told us that she had such big dreams for my sister and me. From the schools we attended to the places we traveled, even the people and places we were exposed to, we were our mother’s aspirations personified. And that was great; that was what was supposed to happen. But what happened to her dreams? Were they put on the back burner the minute she became a mother? Why was that the norm, and why couldn’t my mother be more selfish? I mean this more in general (my mom is seriously living her best life in Manhattan right now), but I began to think that women may lose parts of themselves somewhere between womanhood and motherhood. And the worst part, they’re often villainized for trying to get them back.

Seeing my mom at Gypsy was soooo emotional

The story of Gypsy explores what is the proper way to guide, challenge, and mother children. But throughout the show, I kept thinking how would any of us be able to reach our full potential without someone fearlessly and fiercely pushing us to be the best version of ourselves? For many of us, that was some feminine force in our lives— our mom, aunt, or maybe even grandmother. These themes spun around in my head at the Majestic Theater a few weeks ago, and I was grateful that this nuance was fortunately not lost in the most recent production of Gypsy. And we have Audra Mcdonald’s portrayal to thank for that.

The 2024 Broadway Revival of Gypsy was directed by George C. Wolfe, with music by Jule Styne, lyrics by Stephen Sondheim, and book by Arthur Laurents.

How I saw it: Today Tix (my mom’s Christmas present!)

Run Time: 2 hours 45 minutes (15 minute intermission)

Where I sat: Second Orchestra section, second-row stage right

First Thought: It is remarkable to witness someone doing exactly what God put them on this Earth to do.

Quick Synopsis: The musical is based on the memoirs of famous burlesque entertainer Gypsy Rose Lee and centers on her mother, Rose, an ambitious stage mother determined to make her daughters into vaudeville stars in the 1920s and 30s.

Let’s Talk Sondheim Real Quick

I don’t think I’ve mentioned it here, but Sondheim is by far my favorite composer and lyricist (no, like, one of my favorite podcasts analyzes his lyrics and wordplay, deep cut fr). But I must be honest and admit that Gypsy has never made the cut when it comes to his shows. Even the music, for me, isn’t his best work in aggregate and as an entire body of work. I may get flamed for that, but I most likely won’t listen to many of the songs again, compared to Company which has no skips in my household. All that to say, this show is a Sondheim classiquè and I will give him credit for making the characters, particularly Mama Rose, fully fleshed out humans with very robust arcs through the music. Sondheim also wrote catharsis so poignantly in this show that although there isn’t the perfect, tied up, happy ending, as an audience member, you know that each character found a version of what they were looking for. My analysis of Sondheim’s lyrics could go on forever, but a good four-line rhyme in this show is: Wherever I go, I know he goes / Wherever I go, I know she goes / No fits, no fights, no feuds, and no egos / Amigos / Together! — sorry it’s so quick and pithy!

Why the Direction Wasn’t For Me

I love George C. Wolfe, and I actually really enjoyed his direction of Jelly’s Last Jam last February, but he didn’t hit the mark here on a few things. For starters, the race aspect was confusing, and this is something I will always have a problem with. Herbie (Rose’s situationship/boyfriend/two minute fiancè) aside, Rose and her daughters were all cast as Black women. Although it was never mentioned explicitly, it was confusing to have then four young black male dancers transition into four white male dancers halfway through the first act. I don’t know what that was about or the significance behind it, but it was weird, for lack of a better word. Wolfe’s direction also pandered to themes of colorism in the first act more than once, and although that is something Black audience members will pick up on more, I fear it ended up lost in translation. There were a couple of moments when the blocking felt slightly off and was quite stagnant. The set was very intricate (I need to see the budget) but it felt like just a rotating structure of backdrops in that way. I think that Wolfe hinged the themes of the show on Audra’s star power, both in acting and singing, and that is okay. However, if you are going to make the 100th revival of a show that has been seen and heard by millions, I wish there were more risks being taken and that I was challenged more outside of Audra’s impeccable playing of Mama Rose.

My mom crying after Gypsy is my forever mood

Okay, Now the Audra Mcdonald……

She is relentless. I’ve seen so much slander online around how her voice is “too perfect” or “too operatic” for this role, and to that I say be so for real. Audra is a soprano with an extremely wide range. Her vocal choices during this show were authentic to her, and although that may not be in line with other Mama Roses, it’s an artistic choice that I can get behind. I had a visceral reaction to watching Audra on stage that has been replaying in my head. I saw her in Kenny Leon’s direction of the play Ohio State Murders a few years ago, but I didn’t realize how much her singing was so integral to and intertwined with her acting. Audra’s performance created a deep sense of empathy for a character who often receives minimal to none. I never once hated or judged Mama Rose. If anything, I consistently felt empathy for her— even in her darkest and lowest moments. At its core, this show centers on the relationship between a mother and her daughters. And despite that relationship being toxic and deeply flawed, it's a relationship you cannot help but understand. I couldn’t help but think, during the infamous “Roses Turn,” Black women have always had to claw and fight our way even to be considered. And I feel that was what George C. Wolfe was getting at with Audra as the lead. We can’t ignore that aspect of it— who is singing and what she’s singing about. She, both as a once-in-a-lifetime talent and a Black woman, adds a whole different layer to what it means to “mother” and the lengths Black women will go to do that.

Final Thoughts

I really didn’t get to touch on the other characters in this show, but they were phenomenal. I saw both Joy Woods (Louise) and Jordan Tyson (June) in The Notebook in the fall, and although the show itself wasn’t great, those two were amazing, and I was looking forward to seeing them in these iconic and quite difficult roles. They lived up to my expectations in every regard, and I have no doubt that this was just the beginning of their Broadway stardom. Overall, I’m ambivalent about this show, but I can't get Audra’s performance out of my head. I’ve never seen this show live, and now, I can’t imagine a Mama Rose who isn’t Black. Black mothers are up against so much in this world— it’s a constant battle to even receive the minimum for you and your child. But watching the juxtaposition of a Black woman on stage fighting tooth and nail for her daughters and herself to be simply considered while also acting in the pinnacle role of her career, just fucking killing it at the top of her game, it’s so meta. I can’t even shake it. But that’s the point— Rose is the star, Audra is the star, motherhood be damned. I’m fairly certain this musical won’t please the OG Gypsy fans or the Broadway purists of the world; thank God I’m neither.

Okay the video above is SO funny and unserious because Oprah bffr!!

What You Have To Go See:

• Purpose: You guys have probably seen me post this on my story five times, but I saw the last night of previews for Purpose, and I’m itching to go again. That’s all I’ll say but BJJ is a genius and I’ll defend him at all costs.

• Sumo: At the Public Theater, I will try to go to when I’m back in the city, and I’ve been looking forward to it all season.

• Maybe Happy Ending: A beautiful original new musical on Broadway playing at The Belasco theater with the most gorgeous set I’ve ever seen. The premise is so cool, goofy, and sweet. I’ll be writing about it in two newsletters, but I thought I would put it on your radar since we’re here.

  And last thing, please no one text me about Mama Mia coming to Broadway this summer. I’m not seeing it. I refuse to see it, and I don’t like Mama Mia except when I’m six tequila sodas in, and I can sing “Voulez Vouz” in the comfort of a dive bar in the East Village. Otherwise, it is not theater and that’s all I will say on that.