Audra McDonald Makes History with Powerhouse Performance in Broadway Revival of Gypsy

Some people ain’t Audra McDonald, alright. 

Anyone who has heard the actress’ signature sweet soprano voice knows she’s in a league of her own — and with six Tony Awards to her name, more decorations than any stage performer, she’s already cemented her name in the history books. But with the new Broadway revival of Gypsy that opened on Thursday, Dec. 19 at the Majestic Theatre in New York City, McDonald achieves another first, showing audiences on the Great White Way, as it were, something they’ve never seen before: a Black Mama Rose. 

The role is widely considered to be Mt. Everest for actresses in musical theater. Originated by the great Ethel Merman in Jerome Robbins’ debut 1957 production, the demanding part requires a performer who can exhibit both immeasurable strength and layers of vulnerability. She must showcase both Rose’s relentless, almost tyrannical drive to find showbiz success for her two daughters and also — especially in the final number — allow the audience to see the sacrifices made in pursuit of the spotlight and the psychological toll breaking through all those barriers has taken upon her. 

Oh, and she has to do all that while belting out some truly iconic songs. 

A handful of Broadway’s greatest talents have stepped into Rose’s shoes before, all to great acclaim, including Angela Lansbury, Tyne Daly, Bernadette Peters and Patti LuPone. That’s not to mention the divas who have played her on screen: the original film starring Rosalind Russell (1962); a TV movie with Bette Midler (1993) and a filmed version of the 2015 London revival led by Imelda Staunton.

Now it’s “Audra’s Turn,” if you will. And to say the pressure is on would be an understatement. 

Gypsy is often named the greatest American musical of all time. Inspired by the 1957 memoirs of legendary burlesque entertainer, stripper and actress Gypsy Rose Lee, the enduring musical has a masterful book by Arthur Laurents rich in character development and captivating dramatic structure. That’s all seamlessly integrated into a score by Jule Styne and Stephen Sondheim filled with show tune staples like “Everything’s Coming Up Roses,” “You Gotta Get a Gimmick,” “Together, Wherever We Go” and “Rose’s Turn.”

That might be enough to intimidate any actress. Now factor in the non-traditional casting of a Black star in that pivotal role (as well as Jordan Tyson and Joy Woods, who are playing Rose’s daughters Baby June and Louise). On top of that, layer in the fact that Rose typically sings with brass and belts, something McDonald isn’t known to showcase with her vocals. 

But if McDonald is feeling any of that, she’s certainly not showing it. 

To no surprise, she’s a tour-de-force on stage. Ferocious and funny, terrifying and terrified, raw and rapturous, every choice she makes is intentional and fully-formed. There’s not a moment you don’t believe a move McDonald makes, and not a moment you don’t recognize that you’re experiencing a performance for the ages. 

Her acting is so incredible, it’s almost as if she invented the form. 

There are major differences from those who have played it in the past. McDonald’s Rose is all thorns; she never seems to rely on charm, something others have utilized as a tactic to show how Rose enchants those around her to get what she wants. Instead, she whips through the action of the near three-hour show like an unstoppable tornado on a mission, unconcerned about the path of destruction she leaves behind. 

The question by show’s end has always been why Rose pushed her daughters so hard. Was it for herself, or for her kids? 

McDonald, in an interview with CBS Sunday Morning that aired this past weekend, noted that Rose “can’t differentiate between the two.” And watching her in Gypsy, that’s abundantly clear. Her Rose isn’t the ultimate stage mom; she’s the ultimate mother. Fiercely protective, perpetually pushy, this Rose would do anything for her girls. Because their success is what drives her happiness. 

If there’s one area that McDonald will leave Broadway audiences debating, however, it will be her vocals. The actress has been known to stray from her soprano, as seen in her Tony-winning turn as Billie Holiday in 2014’s Lady Day at Emerson’s Bar & Grill. And while she does add some grit to her chest voice, she’s mostly in her head voice for the higher notes, which can lack the vibrato McDonald previously establishes with her lower tones.

It’s a pivot that can be jarring at first, especially to those who have listened to cast recording after cast recording of Gypsy. Does McDonald still sound incredible? Of course. But is her singing here as effortless as her acting? No. 

That’s not the only thing that doesn’t quite hit its mark in this revival. Director George C. Wolfe, like McDonald, has made bold swings with his staging — some that work, like the transitional sequence coming out of “Some People,” and others that don’t (like the typically quick and spirited “Mr. Goldstone,” which feels clunky and clumsy here). Camille A. Brown’s choreography shines during numbers like “All I Need Is the Girl.” But the build to Louise’s final strip fails to showcase the character’s growth as a performer. And the choice to ditch the strobe effect that ages the cast into adults feels unnecessary.

The strengths in this Gypsy revival far outweigh the weaknesses, specially the impact of viewing the musical through the lens of a trio of Black stars. Not a word of the source material is changed but Wolfe, a five-time Tony Award winner, still finds moments throughout to relate this story to the Black experience. It’s a fresh perspective, and gives the story more relevance than ever.

Alongside McDonald is an excellent supporting cast, led by the always superb Danny Bernstein as the patient Herbie, a former talent agent that Rose ropes out of retirement to represent her girls. Tyson revels in every comedic moment available to Baby June, while Woods does a wonderful job of showcasing Louise’s transformative journey from insecure wallflower to standout star. 

Lesli Margherita, Lili Thomas and Mylinda Hull are hilarious as the trio of strippers who introduce Louise to the realities of the business.

Other highlights in the cast include Kevin Csolak (Tulsa), Kyleigh Vickers (Baby Louise), Marley Lianne Gomes and Jade Smith (Baby June), Natalie Wachen and Tryphena Wade. The ensemble features Shanel Bailey, Jace Bently, Brandon Burks, Hunter Capellán, Tony d’Alelio, Summer Rae Daney, Kellie Jean Hoagland, Sasha Hutchings, Aliah James, Brittney Johnson, Zachary Daniel Jones, Ethan Joseph, Andrew Kober, Krystal Mackie, James McMenamin, Cole Newburg, Joe Osheroff, Majo Rivero, Ken Robinson, Sally Shaw, Thomas Silcott, Brendan Sheehan, Jayden Theophile, Jordan Wynn and Iain Young.

Broadway fans will sure be talking about McDonald’s Mama Rose for years to come, debating every note and line delivery. But for the lucky ones who had a chance to see it live an on stage will remember the power of her “Rose’s Turn.” As McDonald sings, “You either got it or you ain’t. And boys, I got it.”

She sure does.

Tickets for Gypsy are now on sale.