Dear Mr. Laurents,
It comes to my understanding via Michael Riedel of the New York Post that you wish to see another Gypsy on Broadway within the remainder of your lifetime that will vanquish memories of the 2003 Sam Mendes production. Now, I myself enjoyed that particular production, especially since I had never seen the show live in a theatre before. (You’ll have to forgive me, Mr. Laurents, at 24, I’ve missed the Merman, Lansbury and Daly productions that left such indelible marks on theatrical lore). I was in the camp that thought Bernadette Peters was a thrilling Rose, who acted and sang the part with deft aplomb. At the closing performance, I was stunned to see the legendary overture get a standing ovation, thrilled when the audience rose en masse when Ms. Peters made her entrance, and scintillated by the moments which followed, which made for a delightful time at the theatre.
Now, I also became aware of Patti LuPone and her desire to play Rose, but that a begrudged feud between the two of you prevented her from playing any of your roles in New York, where you bear great weight in the casting of your productions. It was gratifying to hear that she was finally have her wish granted at the Ravinia Festival, which sparked enough interest for you to grant her the inestimable privilege of portraying Rose on the New York stage (specifically at the City Center).
It was a wonderful production. Filled with electricity from beginning to end, Patti gave Rose a down-to-earth determination and ferocity that exploded off the stage, particularly in her two showstoppers. (The gutteral scream at the end of the ‘Turn’ left an indelible mark on my experiences as your average theatregoer).
I worry though, that a rush to remount this production at the St. James Theatre in the spring may lead to a less-than-stellar run. In order for this to be successful, perhaps you can allow the entire script and score to be performed. The Kringelein sequence is hilarious and is what makes everything leading into “Mr. Goldstone” memorable. Not only is it a funny bit, but it also is shows how Rose can think and act on her feet. Also, reconsider the reprise of “Small World” in the second act. Rose deserves that brief moment to absorb the loss of Herbie; then bury her emotions. It was sorely missed. And lastly among these minor quibbles. Don’t tamper with the Turn. It’s one of, if not, the greatest eleven o’clock numbers in the history of the musical theatre genre. Cutting even a few bars like you did was jarring to the ear, b/c one expects the full piece. Fortunately it didn’t diminish the impact the number had, but still, Mr. Laurents, was cutting it that necessary?
I know you wouldn’t agree as your opinions and attititudes over the years have remained self-serving and well, megalomaniacal. I figure since Gypsy is the last impressive work you’ve ever written for the theatre, you would want it presented it with the originality and with every word intact. Let’s face it, your books for Gypsy and West Side Story are among the most regarded in the canon, with My Fair Lady and Guys and Dolls being only other examples who are as well regarded. Hell, given the reception the show receives every time it is staged, it’s regarded with a reverence generally provided only for Shakespeare.
So put those generous moments back into the show. Regardless of what you may think, Patti is a big girl and knows her stuff and she will acquit every word with eager discipline and creativity. While we’re at it. Don’t think of casting anyone else as Herbie and Louise, as Boyd Gaines and Laura Benanti may well be the definitive interpreters of their respective roles.
And while you’re at it, record a cast album. Spring for sets. Costumes. Fill the space. Use the space. If we’re getting a full production, make it worth the $120 a person will pay. And make sure it’s good.
Best of luck to you in this and all other future endeavors (especially your revival of West Side Story).
Theatre Aficionado (At Large)
PS – While we’re on the subject, when may we expect a revival of Nick & Nora?