Everything’s roses for ‘Gypsy’ revival at Drury Lane Oakbrook

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Drury Lane Theatre in Oakbrook Terrace will stage "Gypsy" through April 1.

‘GYPSY’

highly
recommended

◆ Through April 1

◆ Drury Lane Oakbrook Theatre, 100 Drury Lane, Oakbrook Terrace

◆ Tickets, $35-$45

◆ (630) 530-0111;

drurylaneoakbrook.com

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Updated: February 29, 2012 8:01AM

Those who think Broadway is that theater-crammed street just east of New York’s Hudson River might want to reset their GPS.

Take a look at the remarkable revival of “Gypsy” now at the Drury Lane Oakbrook Theatre — a production that explodes with powerhouse singing, meticulously tooled storytelling, and a richness of heart, hurt and humor — and you will need little convincing that Broadway has relocated to west suburban Illinois. Arriving right on the heels of a revelatory rendering of “The Sound of Music,” this knockout take on a classic serves as the latest proof that some sort of divine fire is at work in Oakbrook, and it has nothing to do with celebrity casting.

Of course “Gypsy” — that “musical fable” suggested by the memoirs of Gypsy Rose Lee, the fabled ecdysiast (or “striptease artist”) — is among the very greatest of American musicals. The show, with its alternately charming and scorching score by Jule Styne and Stephen Sondheim, and its rock-solid book by Arthur Laurents, not only traces the fierce relationship between a stage door mother from hell, and the two daughters she relentlessly pushes into the spotlight as surrogates for her own emptiness. It also chronicles Depression-era show biz with its look at both vaudeville and its off-color sideshow, burlesque. Director William Osetek, ideally aided by choreographer Tammy Mader, and musical directors Roberta Duchak and Ben Johnson, proves he is a master of naturalism who sees to it that every song unspools like conversation. (Such gems as “Small World” and “You’ll Never Get Away from Me” are particularly winning.)

So, what about Mama Rose, you might ask? After all, she is the show’s unstoppable engine, belting out angry anthems such as “Some People,” “Everything’s Coming Up Roses” and the take-no-prisoners finale, “Rose’s Turn.” Let’s just say that Klea Blackhurst (acclaimed for her Ethel Merman tribute) is a wonder. Her clarion, wide-ranging voice is an intriguing blend of Merman’s punchiness and Bette Midler’s warmth. And she gives us a Mama Rose whose chief quality is an inability to listen to anyone but herself.

Andrea Prestinario is beautifully understated and real as sweet, bookish Louise, the long-ignored daughter who surprisingly morphs into the happily glamorous Gypsy Rose Lee, and finally finds the steel to stand up to her mother. David Kortemeier captures the essence of Herbie, the meek but self-aware man who loves Mama Rose until she goes one step too far. Matthew Crowle stops the show as Tulsa, the boyish tap dancer. The kids who line up for a patriotic workout in Mama Rose’s endlessly recycled vaudeville act are priceless. And for sheer hilarity there are the three strippers played to vintage perfection by Susan Lubeck, Cheryl Avery and Frances Asher. They sing “You Gotta Have a Gimmick,” but as this electrifying production proves, what you really need is immense talent and absolute truth.