Broadway Breakdown – Matt Reviews GYPSY (Dec 19, 2024)
Host: Matt Koplik
Main theme: An in-depth, fiercely opinionated review of the Broadway revival of Gypsy starring Audra McDonald, directed by George C. Wolfe.
OVERVIEW
In this frank, passionate solo episode, Matt Koplik deep-dives into the highly anticipated new revival of Gypsy, unpacking his expectations versus reality, analyzing the casting, singing, direction, choreography, and design, and exploring what worked, what fell short, and why. With Audra McDonald as Rose and George C. Wolfe at the helm, Gypsy promised to be an event—but does it deliver? Matt answers with detailed critique, colorful language, and deep musical theatre knowledge.
KEY DISCUSSION POINTS & INSIGHTS
1. High Expectations and Initial Context
[02:10 – 07:00]
- Matt sets up his anticipation for this Gypsy, noting it's led by stage royalty (Audra McDonald, Danny Burstein, George C. Wolfe):
"Y’all have heard me talk about this production... how much I was looking forward to it, how high my expectations were."
- He addresses review fatigue, online reactions, and skepticism about the production’s approach to casting and vocal demands.
2. Audra McDonald as Mama Rose
[07:00 – 23:00]
a. Vocal Performance
- Audra does belt more than expected:
"She actually does belt it more than a lot of people would assume." [12:28]
- Her chest voice shines in “Some People”, but strategic key changes in songs like "Rose’s Turn" and "Everything’s Coming Up Roses" push her into less powerful head voice territory:
"It just sounded thin...where it sat was right on her passaggio, right on her break." [14:10]
- McDonald’s voice is not “wrong,” but not always an ideal fit for the role’s biggest moments:
"There’s a lot of what she’s doing vocally that is wonderful. But I can’t tell you that it works all the time, which is a shame." [16:00]
b. Acting & Characterization
- Matt highlights the necessity for Rose’s “hustle” and predatory energy—strategic, always with an “angle.”
- Audra’s take is more internal:
"Audra as Rose is much more interested in the woman, and primarily in the brokenness...than she is in the shark." [18:22]
- Critique:
"Her Rose doesn’t really have a hustle, and her Rose doesn’t really angle...just a ball of energy with no place to put it..." [19:17]
- She’s best when the character has a firm target (anger or confrontation):
"When the character of Rose is pissed off, that is when Audra as an actress becomes suddenly locked into the role." [22:45]
3. George C. Wolfe’s Direction & Racial Dynamics
[23:00 – 33:30]
- Matt expected Wolfe’s signature boldness in exploring race and showbiz, but found the revival surprisingly restrained:
"The bottom line is that race is actually not a huge component of this production and it doesn't have to be, but it touches on race enough that for me, I wanted it to go further." [25:40]
- Casting choices and subtle visual motifs (e.g., June’s lighter skin and blonde wigs) hint at colorism, but the script and staging don't meaningfully develop a racial arc:
"There is really no string strong enough to connect the two outside of just the images themselves." [28:57]
- Missed dramaturgical opportunities, paralleling but not truly deepening the story’s themes.
4. The Strip Sequence & Louise’s Journey
[33:30 – 37:08]
- Matt is incensed by the reworking of Louise’s strip—especially the excision of key dialogue:
"We don’t see the moment in that first strip when Louise accidentally says hello...she has a superpower. She can talk and everyone will listen." [35:56]
- The choice to reference Josephine Baker is visually striking but lacks narrative development:
"That connection from Baby June...to Louise becoming basically Josephine Baker coated is an interesting arc to go on, but the arc actually isn't there." [29:54]
Memorable analogy:
- On omitting Louise’s crucial dialogue:
"I didn’t think that the strip would have to be a green M&M test for me with Gypsy, but right now it kind of is..." [36:30]
5. Choreography & Staging
[37:22 – 47:30]
- Camille A. Brown’s choreography is energetic but stylistically mismatched:
"Her best work is when it just comes organically from text or ensemble work...Gypsy is NOT a show like that..." [41:40]
- The production’s era-specific dance idioms and “musical theatre structure” feel lost:
"Numbers build in a way that you have to understand intrinsically." [42:35]
- Set design amounts to poorly managed space, appearing “cheap” not for its budget but for lack of focus:
"It’s all very poorly staged spaced. The Majestic is a very large stage, and this production uses a lot of dead space, which I think is a mistake..." [37:30]
- “All I Need is the Girl” is misdirected, focusing too much on Tulsa and not Louise’s awakening.
6. Supporting Performances
[47:30 – 54:00]
- Jordan Tyson (Dainty June):
"She is the best Dainty June I’ve ever seen. I think she could be the ultimate in a much more focused production..." [50:50]
- Danny Burstein (Herbie):
"Danny Burstein is fine in the show...He’s a solid Herbie, but I can’t say he’s a particularly memorable Herbie." [53:40]
- Joy Woods (Louise):
"She’s a little too confident in herself for me...You don’t see the inner turmoil." [54:30]
- Strippers (Lesli Margherita, Melinda Hall, Lily Thomas) all land their moments, with Hall a standout:
"Melinda Hall’s casting, when it was announced, was something that really intrigued me...she’s very good in this." [55:12]
7. Production Design & Thematic Clarity
[54:00 – 57:00]
- Design inconsistency abounds—some sets realistic, others impressionistic; overall, no cohesive visual language:
“There’s also no cohesive theme… I did not find there to be a cohesive viewpoint for it. Which is maybe another reason why people find it cheap.” [56:40]
- The orchestra sounds muffled—another missed technical opportunity:
“Orchestra… sounded like it was under quite a few pillows.” [57:35]
8. Final Reflections & Tony Prognosis
[57:00 – End]
- Matt’s overall verdict:
"This is a revival of Gypsy that is not a total disaster… but it was not what I really wanted it to be. I wanted it to be an event..." [58:01]
- Despite some bright spots, the production underwhelms compared to his sky-high hopes; he predicts mixed audience and critical reactions.
- Closing note:
"That’s sort of the problem with having hopes and dreams: when they’re not met, they really can upset you. And I gotta admit, this production… did upset me." [1:01:30]
MEMORABLE QUOTES
-
On Audra’s take:
"Her Rose doesn’t really have a hustle, and her Rose doesn’t really angle...just a ball of energy with no place to put it..." [19:17]
-
On direction and missed opportunities:
"George C. Wolfe is such a brilliant man. I would not call him a musical comedy director." [20:49]
-
On the Josephine Baker-coded ending:
"That connection...to Louise becoming basically Josephine Baker coated is an interesting arc to go on, but the arc actually isn’t there." [29:54]
-
On the strip’s essential moment:
"She is famous for talking...there is so much strength in that and so much dynamics to that, and it's important to see that spark happen on stage." [35:44]
-
Final summation:
"I wanted more, I wanted to feel more from it...Despite not being a travesty, did upset me. I’m kind of sad that this is where I’m at with it." [1:01:30]
IMPORTANT SEGMENT TIMESTAMPS
- High expectations, show context: [02:10–07:00]
- Audra McDonald vocal/acting analysis: [07:00–23:00]
- George C. Wolfe/directorial choices: [23:00–33:30]
- Strip sequence / Louise’s arc: [33:30–37:08]
- Choreography & design: [37:22–47:30]
- Supporting cast: [47:30–54:00]
- Design & technical assessment: [54:00–57:00]
- Overall verdict and closing: [57:00–End]
TONE & STYLE
Matt’s review is brash, deeply nerdy, emotionally invested, and peppered with expletives and wry analogies. He’s fair but unwavering in holding the production (and his own biases) to sharply defined standards, offering both technical insight and personal reflection for theatre aficionados and casual fans alike.
TL;DR (Too Long; Didn’t Listen)
Matt Koplik wanted Gypsy to be a boundary-pushing event, but found it technically proficient and occasionally thrilling, yet ultimately cautious and undercooked—most notably in its treatment of race, Audra McDonald’s Rose, and the legendary strip sequence. There are bright spots in the cast, but the sum does not meet its parts. This is a Gypsy that provokes more thought than cheers.