The jewel in the crown of the musical theatre canon gleams all the more brightly in this immaculately staged revival, with the great Audra McDonald leaving her all on stage as ferocious stage mother Mama Rose. As if grasping for fame was not hard enough already in the dying days of vaudeville, this Mama Rose faces an additional hurdle, with the role clearly not played as colour blind casting. When Herbie asks Rose why she dresses June in a blonde wig, there is an extra layer to the question. With the book unedited, the issue of race is not addressed directly but the challenge is there and Rose works all the harder to overcome it. Director George C. Wolfe and his team show the nonsensical gimmick across the street how to ready do a revival. The iconic book of Arthur Laurents, music of Jule Styne, and lyrics of Stephen Sondheim are treated with the utmost respect, as is the audience, and still the whole affair feels utterly fresh and vibrant.
Wolfe delivers plenty of warm humour, yet brittle tragedy remains at the fore. There are larger-than-life characters, but the compelling drama is firmly grounded in truth, and is all the more affecting for it. Eschewing the original Jerome Robbins choreography, choreographer Camille A. Brown firmly places her own stamp on the work. The trenches-in-strobe-lighting as the kids age up is missed but there are abundant delights, not the least of which is the tremendous extended dance break for Tulsa in “All I Need Is The Girl,” superbly performed by Kevin Csolak.
Music supervisor Andy Einhorn contributes new orchestrations and arrangements, and conducts a lavish orchestra of 25 musicians. Performing in the orchestra pit (remember those?), the orchestra delivers that most famous of overtures in superb style. Scenic designer Santo Loquasto retains a constant air of theatricality, providing a series of smart, tight settings within an ever present proscenium arch. Costume designer Toni-Leslie James brings a sneaky air of refinement to the depression era setting, and pairs with Loquasto to have great fun with the hammy “acts” desperately stitched together by Rose.
By turns electrifying, hilarious, and devastating, Audra McDonald is in absolutely thrilling form as Rose. Completely immersing herself in the role, McDonald has Rose steamroll her way through all obstacles with power to spare. McDonald’s engagement of her soprano head voice is expertly handled to heighten emotion and not detract from memories of previous pure alto belters in the role. To bring home the tour de force of Rose’s Turn, Rose “sees” our standing ovation, imagining all the acclaim she would have received had she not been born too soon and started too late.
Broadway legend Danny Burstein is the ideal partner for McDonald, his Herbie a loveable pro who exudes palpable warmth and charm. The fact that a Herbie of this strength cannot cope with Rose’s ultimate insanity is all the more powerful when the dear man’s exit finally comes. Joy Woods is elegance personified as acclaimed ecdysiast Gypsy Rose Lee. Woods takes Louise on an extraordinary arc, playing her early shyness in heartrending fashion and birthing the glamorous strip tease artiste in completely believable style.
Lesli Margherita brings full life to late entry Tessie Tura, joined by Lili Thomas (Mazeppa) and Mylinda Hull (Electra) for a suitably sassy take on the much loved charm song “You Gotta Get A Gimmick.” Generously produced in all regards, the lavish staging has an incredibly large cast, encompassing adults, children, and sweet little Tana June as Chowsie. Any and all musical theatre lovers who visit New York this year should need no additional urging to do all they can to catch this must-see engagement of Gypsy.
Gypsy was reviewed 7pm Tuesday 6 May 2025 at Majestic Theatre, New York. For tickets, click here.
In addition to the excitement surrounding Gypsy, the 2025-26 Broadway season in Santa Barbara is set to delight audiences with a stellar lineup. The season will include popular shows such as The Book of Mormon, Hadestown, Kinky Boots, and Pilobolus’s Other Worlds Collection. Craig Aikman, Senior Director of Booking & Operations for The American Theatre Guild, shared insights about the upcoming season, describing it as a “big 1,500-piece puzzle.”
The American Theatre Guild is the largest nonprofit touring Broadway presenter in the nation, covering 14 markets across the country. Aikman noted that they send out surveys to subscribers to gauge interest, which is why The Book of Mormon is returning on February 24–25, 2026, after a sold-out run in 2023. “It’s irreverent, it’s funny. It makes you think, it makes you feel, even though you don’t think that you’re going to feel anything except laughter, but it’s a show that’s got heart,” Aikman remarked.
Kinky Boots will also make a comeback, playing December 9-10, 2025. Aikman explained that this revival is particularly relevant right now, as it tells the story of unlikely partnerships and self-discovery through the lens of a shoe factory owner and a drag queen. Hadestown, scheduled for April 28–29, 2026, is described by Aikman as “the closest thing to just pure art on stage,” with many audience members claiming it can be life-changing.
Aikman emphasized that all the shows share a common theme of storytelling and discovering one’s authentic self, even Pilobolus’s contemporary dance production, which will take place on March 18–19, 2026. All shows will be performed at The Granada Theatre, with season tickets now available for purchase.
Meanwhile, another beloved musical, Ragtime, is making its return to Broadway. Set to begin previews on September 26, 2025, and officially open on October 16, 2025, at the Vivian Beaumont Theater, this production will run for just 14 weeks. Directed by Lear deBessonet, the new staging will feature a cast of 33 onstage actors and a 28-piece orchestra.
Ragtime, based on E.L. Doctorow's 1975 novel, intertwines the stories of three fictional families with historical figures, exploring themes of aspiration and identity in early 20th-century America. The production will star Joshua Henry as Coalhouse Walker Jr., Caissie Levy as Mother, and Brandon Uranowitz as Tateh. DeBessonet expressed her excitement about directing the revival, noting the emotional complexity of the story and its relevance to contemporary America.
As Broadway gears up for these exciting productions, theatre lovers can look forward to a season filled with rich narratives and unforgettable performances. The revival of Gypsy, the 2025-26 Santa Barbara season, and the return of Ragtime all promise to captivate audiences and reinforce the power of musical theatre.
