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Guys and Dolls
Music	Frank Loesser
Lyrics	Frank Loesser
Book	Jo Swerling Abe Burrows
Basis	'The Idyll of Miss Sarah Brown' and 'Blood Pressure' by Damon Runyon[1]
Productions	1950 Broadway 1953 West End 1976 Broadway revival 1982 London revival 1992 Broadway revival 2005 West End revival 2009 Broadway revival 2015 West End revival
Awards	Tony Award for Best Musical Tony Award for Best Book (1982) Olivier for Outstanding Musical Tony Award for Best Revival Drama Desk Outstanding Revival (2005) Olivier for Outstanding Musical

Guys and Dolls is a musical with music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows. It is based on 'The Idyll of Miss Sarah Brown' and 'Blood Pressure', which are two short stories by Damon Runyon,^[1][2] and also borrows characters and plot elements from other Runyon stories – most notably 'Pick the Winner'.^[3]

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The show premiered on Broadway in 1950, where it ran for 1,200 performances and won the Tony Award for Best Musical. The musical has had several Broadway and London revivals, as well as a 1955 film adaptation starring Marlon Brando, Jean Simmons, Frank Sinatra and Vivian Blaine.

Guys and Dolls was selected as the winner of the 1951 Pulitzer Prize for Drama. However, because of writer Abe Burrows' troubles with the House Un-American Activities Committee (HUAC), the Trustees of Columbia University vetoed the selection, and no Pulitzer for Drama was awarded that year.^[4]

• 2Synopsis
• 4Productions

Background[edit]

Guys and Dolls was conceived by producers Cy Feuer and Ernest Martin as an adaptation of Damon Runyon's short stories.^[5] These stories, written in the 1920s and 1930s, concerned gangsters, gamblers, and other characters of the New York underworld. Runyon was known for the unique dialect he employed in his stories, mixing highly formal language and slang.^[6] Frank Loesser, who had spent most of his career as a lyricist for movie musicals, was hired as composer and lyricist. George S. Kaufman was hired as director. When the first version of the show's book, or dialogue, written by Jo Swerling was deemed unusable, Feuer and Martin asked radio comedy writer Abe Burrows to rewrite it.^[5][7]

Loesser had already written much of the score to correspond with the first version of the book.^[6] Burrows later recalled:

Frank Loesser's fourteen songs were all great, and the [new book] had to be written so that the story would lead into each of them. Later on, the critics spoke of the show as 'integrated'. The word integration usually means that the composer has written songs that follow the story line gracefully. Well, we accomplished that but we did it in reverse.^[8]

The character of Miss Adelaide was created specifically to fit Vivian Blaine into the musical, after Loesser decided she was ill-suited to play the conservative Sarah.^[9] When Loesser suggested reprising some songs in the second act, Kaufman warned: 'If you reprise the songs, we'll reprise the jokes.'^[10]

Synopsis[edit]

Act I[edit]

A pantomime of never-ceasing activities depicts the hustle and bustle of New York City ('Runyonland'). Three small-time gamblers, Nicely-Nicely Johnson, Benny Southstreet, and Rusty Charlie, argue over which horse will win a big race ('Fugue for Tinhorns'). The band members of the Save-a-Soul Mission, led by the pious and beautiful Sergeant Sarah Brown, call for sinners to 'Follow the Fold' and repent. Nicely and Benny's employer, Nathan Detroit, runs an illegal floating crap game. Due to local policeman Lt. Brannigan's strong-armed presence, he has found only one likely spot to hold the game: the 'Biltmore garage.' Its owner, Joey Biltmore, requires a $1,000 security deposit, and Nathan is broke ('The Oldest Established'). Nathan hopes to win a $1,000 bet against Sky Masterson, a gambler willing to bet on virtually anything. Nathan proposes a bet he believes he cannot lose: Sky must take a woman of Nathan's choice to dinner in Havana, Cuba. Sky agrees, and Nathan chooses Sarah Brown. At the mission, Sky claims he wants to be saved, impressing Sarah with his knowledge of the Bible. He offers Sarah a deal: He will bring the mission 'one dozen genuine sinners' if she will accompany him to Havana the next night. Sarah rebuffs him, telling him that she plans to fall in love with an upright, moral man. Sky replies that he plans on being surprised when he falls in love ('I'll Know'). Sky kisses Sarah, and she slaps him. Nathan goes to watch his fiancée of 14 years, Adelaide, perform her nightclub act ('A Bushel and a Peck'). After her show, she asks him, as she has many times before, to go down to city hall and get a marriage license. She also tells Nathan that she has been sending her mother letters for twelve years claiming that they have been married with five children. She is distraught to find out that Nathan is still running the crap game. She consults a medical book, which tells her that her chronic cold is a psychosomatic reaction to her frustration with Nathan's failure to marry her ('Adelaide's Lament').

The next day, Nicely and Benny watch as Sky pursues Sarah, and Nathan tries to win back Adelaide's favor. They declare that guys will do anything for the dolls they love ('Guys and Dolls'). General Cartwright, the leader of Save-a-Soul, visits the mission and explains that she will be forced to close the branch unless they succeed in bringing some sinners to the upcoming revival meeting. Sarah, desperate to save the mission, promises the General 'one dozen genuine sinners', implicitly accepting Sky's deal. The gamblers, including a notorious gangster from Chicago named Big Jule, are waiting for Nathan to secure the spot for the game, and Lt. Brannigan becomes suspicious. To convince him of their innocence, they tell Brannigan their gathering is Nathan's 'surprise bachelor party'. This satisfies Brannigan, and Nathan resigns himself to eloping with Adelaide. Adelaide goes home to pack, promising to meet him after her show the next afternoon. The Save-A-Soul Mission band passes by, and Nathan sees that Sarah is not in it; he realizes that he lost the bet and faints.

In a Havana nightclub, Sky buys a drink for himself and a 'Cuban milkshake' for Sarah. She doesn't realize that the drink contains Bacardi rum, and innocently drinks multiple glasses, becoming progressively tipsier. Outside the club, Sarah kisses Sky and proclaims that she is truly enjoying herself for the first time in her life ('If I Were a Bell'). She wants to stay in Havana with Sky. Sky is surprised to find, though, that he truly cares about Sarah's welfare, and he insists that they go back to the airport and return to New York. Back in New York, it is 4:00 a.m., and as Sky and Sarah (now sober) stand in the street outside the mission, Sky tells her that this is his favorite time of day, and that she is the only woman he's ever wanted to share it with ('My Time of Day'). They both spontaneously admit that they're in love ('I've Never Been in Love Before'). A siren sounds and gamblers run out of the mission, where Nathan has been holding the crap game. Sarah infers that Sky took her to Havana and pretended to be in love with her just so Nathan could use the mission for the game, rejecting his protests of innocence.

Act II[edit]

The next evening, Adelaide performs her act at the Hot Box ('Take Back Your Mink'). Nathan doesn't show up for the elopement because he's still running the crap game. She soon realizes that Nathan has stood her up again and turns to her book for comfort ('Adelaide's Second Lament').

Sarah admits to Arvide, her grandfather and fellow mission worker, that she loves Sky but will never see him again because she believes he is responsible for the previous night's crap game. Arvide expresses his faith in Sky's inherent goodness and urges Sarah to follow her heart ('More I Cannot Wish You'). Sky tells Sarah he intends to deliver the dozen genuine sinners for the revival. She doesn't believe him and walks off, but Arvide subtly encourages him.

Nicely shows Sky where the game is being held: the sewer ('Crapshooters Dance'). Big Jule has lost a large amount of cash and insists on playing on credit. To change his luck he uses his own dice, which are blank, and proceeds to cheat Nathan out of all of his money. Sky then arrives with Nicely. Big Jule isn't impressed, but Sky responds by punching him out. He then gives Nathan $1,000, saying that Nathan won the bet and implying that Sarah refused to go to Havana with him. Sky, determined to get the dozen sinners he promised Sarah, bets everyone at the game a thousand dollars against their souls. If he loses, every man gets a thousand dollars; if he wins, they must all attend the revival at the mission ('Luck Be a Lady'). He tosses the dice. The gamblers head towards the mission, and it is clear that Sky has won his bet. On his way there, Nathan runs into Adelaide and tells her that he has to attend the prayer meeting. Adelaide does not believe him. She asks herself why she keeps putting up with Nathan's lies, and he tells her that he loves her ('Sue Me').

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Sky and the gamblers arrive at the mission, much to Sarah's surprise. General Cartwright asks if anyone wishes to testify to their sins. Benny and Big Jule do, but another gambler named Harry The Horse lets slip that Sky only got them to the meeting because he won their souls in a dice game. The General is very pleased by this as it shows that good can come out of evil. Attempting to appear contrite, Nicely invents a dream that encouraged him to repent, and the gamblers join in with revivalist fervor ('Sit Down, You're Rockin' the Boat'). Brannigan arrives and threatens to arrest everyone for the crap game in the Mission, but Sarah clears them, saying that none of the gamblers were at the mission the previous night. After Brannigan leaves, Nathan confesses that they held the crap game in the mission. He also confesses to the bet he made with Sky about taking Sarah to Havana. He adds that he won the bet, to Sarah's shock, and she realizes that Sky wanted to protect her reputation and must genuinely care about her.

Sarah and Adelaide run into each other, and they commiserate and then resolve to marry their men anyway and reform them later ('Marry the Man Today'). Several weeks later, Nathan has opened a newsstand. Sky and Sarah have just been married, and Sky is playing the drum in the mission band. Adelaide and Nathan are about to get married at the mission, and Sky tells Nathan he'll lay eight to ten odds that he will be very happy. The title song is reprised ('Guys and Dolls' (Finale/Reprise)).

Musical numbers[edit]

Act I 'Runyonland' – Orchestra 'Fugue for Tinhorns' – Nicely, Benny, Rusty 'Follow the Fold' – Sarah, Mission Band 'The Oldest Established' – Nathan, Nicely, Benny, Guys 'I'll Know' – Sarah, Sky 'A Bushel and a Peck' – Adelaide, Hot Box Girls 'Adelaide's Lament' – Adelaide 'Guys and Dolls' – Nicely, Benny 'Havana' – Orchestra 'If I Were a Bell' – Sarah 'My Time of Day/I've Never Been in Love Before' – Sky, Sarah

Act II 'Take Back Your Mink' – Adelaide, Hot Box Girls 'Adelaide's Second Lament' – Adelaide 'More I Cannot Wish You' – Arvide 'Crapshooters Ballet' – Orchestra 'Luck Be a Lady' – Sky, Guys 'Sue Me' – Adelaide, Nathan 'Sit Down, You're Rockin' the Boat' – Nicely, Company 'Marry the Man Today' – Adelaide, Sarah 'Guys and Dolls (Reprise)' – Company

Productions[edit]

Original productions[edit]

The musical premiered on Broadway at the 46th Street Theatre (now Richard Rodgers Theatre) on November 24, 1950. It was directed by George S. Kaufman, with dances and musical numbers by Michael Kidd, scenic and lighting design by Jo Mielziner, costumes by Alvin Colt, and orchestrations by George Bassman and Ted Royal, with vocal arrangements by Herbert Greene^[11] It starred Robert Alda (Sky), Sam Levene (Nathan), Isabel Bigley (Sarah), and Vivian Blaine (Adelaide). Iva Withers was a replacement as Adelaide. The musical ran for 1,200 performances, winning five 1951 Tony Awards, including the award for Best Musical. Decca Records issued the original cast recording on 78 rpm records, which was later expanded and re-issued on LP, and then transferred to CD in the 1980s.

The West End premiere opened at the London Coliseum on May 28, 1953 and ran for 555 performances. The cast starred Vivian Blaine, Sam Levene, Lizbeth Webb and Jerry Wayne.^[12][13] Lizbeth Webb was the only major principal who was British and was chosen to play the part of Sarah Brown by Frank Loesser. The show has had numerous revivals and tours and has become a popular choice for school and community theatre productions.

New York City Center 1955, 1965 and 1966 revivals[edit]

New York City Center mounted short runs of the musical in 1955, 1965 and 1966. A production starring Walter Matthau as Nathan Detroit, Helen Gallagher as Adelaide, Ray Shaw as Sky and Leila Martin as Sarah had 31 performances, running from April 20 to May 1, and May 31 to June 12, 1955.^[14][15]

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Another presentation at City Center, with Alan King as Nathan Detroit, Sheila MacRae as Adelaide, Jerry Orbach as Sky and Anita Gillette as Sarah, ran for 15 performances from April 28 to May 9, 1965. A 1966 production, starring Jan Murray as Nathan Detroit, Vivian Blaine reprising her role as Adelaide, Hugh O'Brian as Sky, and Barbara Meister as Sarah, ran for 23 performances, from June 8 to June 26, 1966.^[16]

1976 Broadway revival[edit]

Libretto and vocal book, Music Theatre International (1978), rented out to actors.

An all-black cast staged the first Broadway revival of the show, which opened on July 11, 1976 in previews, officially on July 21, at The Broadway Theatre. It starred Robert Guillaume as Nathan Detroit, Norma Donaldson as Miss Adelaide, James Randolph as Sky and Ernestine Jackson as Sarah Brown. Guillaume and Jackson were nominated for Tony and Drama Desk Awards, and Ken Page as Nicely-Nicely won a Theatre World Award.

This production featured Motown-style musical arrangements by Danny Holgate and Horace Ott, and it was directed and choreographed by Billy Wilson. The entire production was under the supervision of Abe Burrows, and musical direction and choral arrangements were by Howard Roberts. Makerware 2.4 download mac.

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The show closed on February 13, 1977, after 12 previews and 239 performances. A cast recording was released subsequent to the show's opening.

1982 London revival[edit]

Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.^[17]

In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a 're-thinking' of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon,^[18] and brassier orchestrations with vintage yet innovative harmonies.^[19][20] The show's choreography by David Toguri included a large-scale tap dance number of the 'Guys and Dolls' finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation,^[21] running for nearly four years and breaking all box office records.^[22][23] The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah.^[24] The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.

In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months.^[25] Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley.^[26][27] After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.^[28][29]

Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA.^[30]

1992 Broadway revival[edit]

DVD cover of the 1992 cast-album recording documentary, Guys and Dolls: Off the Record, starring Peter Gallagher, Josie de Guzman, Nathan Lane, and Faith Prince

The 1992 Broadway revival was the most successful American remounting of the show since its original opening. Directed by Jerry Zaks, it starred Nathan Lane as Nathan Detroit, Peter Gallagher as Sky, Faith Prince as Adelaide and Josie de Guzman as Sarah. This production played at the Martin Beck Theatre from April 14, 1992 to January 8, 1995, with 1,143 performances.

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The production received a rave review from Frank Rich in The New York Times, stating 'It's hard to know which genius, and I do mean genius, to celebrate first while cheering the entertainment at the Martin Beck.'^[31] It received eight Tony Award nominations, and won four, including Best Revival, and the show also won the Drama Desk Award for Outstanding Revival. This revival featured various revisions to the show's score, including brand new music for the 'Runyonland', 'A Bushel and a Peck', 'Take Back Your Mink' and 'Havana'. The orchestrations were redesigned by Michael Starobin, and there were new dance arrangements added to 'A Bushel and a Peck' and 'Take Back Your Mink'.

A one-hour documentary film captured the recording sessions of the production's original cast album. Titled Guys and Dolls: Off the Record, the film aired on PBS's Great Performances series in December 1992, and was released on DVD in 2007.^[32][33] Complete takes of most of the show's songs are featured, as well as coaching from director Zaks, and commentary sessions by stars Gallagher, de Guzman, Lane, and Prince on the production and their characters.

1996 London revival[edit]

Richard Eyre repeated his 1982 success with another National Theatre revival of the show, this time in a limited run. It starred Henry Goodman as Nathan Detroit, Imelda Staunton returning as Adelaide, Clarke Peters returning as Sky and Joanna Riding as Sarah. Clive Rowe played Nicely-Nicely Johnson, and David Toguri returned as choreographer. The production ran from December 17, 1996 through March 29, 1997 and from July 2, 1997 to November 22, 1997.^[34][35] It received three Olivier Award nominations, winning one: Best Supporting Performance in a Musical went to Clive Rowe.^[36] Richard Eyre won the Critics' Circle Theatre Award for Best Director, and the production won Best Musical.

2005 West End revival[edit]

The 2005 West End revival opened at London's Piccadilly Theatre in June 2005 and closed in April 2007. This revival, directed by Michael Grandage, starred Ewan McGregor as Sky, Jenna Russell as Sarah, Jane Krakowski as Adelaide, and Douglas Hodge as Nathan Detroit.^[37] During the run, Nigel Harman, Adam Cooper, Norman Bowman and Ben Richards took over as Sky; Kelly Price, Amy Nuttall and Lisa Stokke took over as Sarah; Sarah Lancashire, Sally Ann Triplett, Claire Sweeney, Lynsey Britton and Samantha Janus took over as Adelaide; and Nigel Lindsay, Neil Morrissey, Patrick Swayze, Alex Ferns and Don Johnson took over as Nathan Detroit. This production added the song 'Adelaide' that Frank Loesser had written for the 1955 film adaptation. According to a September 2007 article in Playbill.com, this West End production had been scheduled to begin previews for a transfer to Broadway in February 2008, but this plan was dropped.^[38]

2009 Broadway revival[edit]

A 2009 Broadway revival of the show opened on March 1, 2009 at the Nederlander Theatre. The cast starred Oliver Platt as Nathan Detroit, Lauren Graham, in her Broadway debut, as Adelaide, Craig Bierko as Sky and Kate Jennings Grant as Sarah. Des McAnuff was the director, and the choreographer was Sergio Trujillo.^[39][40] The show opened to generally negative reviews.^[41] The New York Times called it 'static' and 'uninspired',^[42] the New York Post said, 'How can something so zippy be so tedious?'^[43] and Time Out New York wrote, 'Few things are more enervating than watching good material deflate.'^[44] However, the show received a highly favorable review from The New Yorker,^[45] and the producers decided to keep the show open in hopes of positive audience response. The New York Post reported on March 4 that producer Howard Panter '[said] he'll give Guys and Dolls at least seven weeks to find an audience.'^[46] The revival closed on June 14, 2009 after 28 previews and 113 performances.^[47]

2015–16 West End revival and UK/Ireland tour[edit]

A revival opened at the 2015 Chichester Festival. This moved to Manchester and Birmingham before moving onto a West End opening at the Savoy Theatre on December 10, 2015 for previews with a full opening on January 6, 2016 until March 12, 2016. The production stars Sophie Thompson as Adelaide and Jamie Parker as Sky.^[48] The production then transferred to the Phoenix Theatre, with Oliver Tompsett as Sky, Samantha Spiro as Adelaide and Richard Kind as Nathan. On June 28, 2016, the role of Miss Adelaide was taken over by Rebel Wilson, and Nathan Detroit was played by Simon Lipkin.^[49] The tour continues around UK cities and Dublin.^[50]

2017/2018 UK all-black production[edit]

Talawa Theatre Company and Manchester's Royal Exchange Theatre produced the UK's first all-black Guys and Dolls in 2017. The production opened on December 2, 2017 and following an extension will run to February 27, 2018 at the Royal Exchange in Manchester.^{[51][52][53][51][54][55]} The cast includes Ray Fearon as Nathan Detroit, Ashley Zhangazha as Sky Masterson, Abiona Omonua, and Lucy Vandi.^[56][57]

In this production, the musical was relocated to Harlem, 1939, with the music referencing jazz, and gospel. Director Michael Buffong said, 'Pre-war Harlem was all about the hustle. The creativity of that era was born from a unique collision of talent and circumstance as people escaped the agricultural and oppressive south via the 'underground railroad' into the highly urbanised and industrialised north. Much of our popular culture, from dance to music, has its roots in that period. Our Guys and Dolls brings all of this to the fore.'^[51][58]

Reviews particularly praised the music, relocation to Harlem, and sense of spectacle: The Guardian noted, 'the gamblers . are a bunch of sharp-suited peacocks clad in rainbow hues.'^[59]The Times commented, 'Whoever had the idea of moving this classic musical from one part of New York to another bit, just up the road, needs to be congratulated. This version of Frank Loesser's musical, which swirls around the lives of the petty gangsters and their 'dolls' who inhabit New York's underbelly, moves the action to Harlem at its prewar height in 1939. It is a Talawa production with an all-black cast and it is terrific from the get-go.'^[60]The Observer stated, 'Relocated to Harlem, this fine new production of Frank Loesser's classic musical retains a threat of violence under a cartoon-bright exterior.'^[61]

Other[edit]

In 1995, a Las Vegas production, performed without intermission, starred Jack Jones, Maureen McGovern and Frank Gorshin.^{[citation needed]}

Charles Randolph-Wright directed a production at Washington's Arena Stage, starring Maurice Hines (Nathan Detroit) and Alexandra Foucard (Adelaide), opening on December 30, 1999.^[62][63] The production received six Helen Hayes Award nominations.^[64] With support from Jo Sullivan Loesser, the production began a national tour in August 2001.^[65][66] The cast recording from this production, released in November 2001, was nominated for the Grammy Award for Best Musical Show Album.^[67][68]

An Australian remount of the Michael Grandage West End production of Guys and Dolls opened in Melbourne, Australia on April 5, 2008. The show starred Lisa McCune, Marina Prior, Garry McDonald, Ian Stenlake, Shane Jacobson, Wayne Scott Kermond, and Magda Szubanski, and ran at the Princess Theatre.^[69] The Melbourne season closed in August 2008 and transferred to Sydney from March 13, 2009 to May 31, 2009 at the Capitol Theatre, retaining the Melbourne cast.^[70]

In August 2009, a concert version ran at The Hollywood Bowl, Hollywood, California, starring Scott Bakula (Nathan Detroit), Brian Stokes Mitchell (Sky Masterson), Ellen Greene (Miss Adelaide), and Jessica Biel (Sarah Brown).^[71]

In February 2011, a co-production between Clwyd Theatr Cymru, the New Wolsey Theatre and the Salisbury Playhouse opened at Clwyd Theatr. Directed by Peter Rowe and with music direction by Greg Palmer and choreography by Francesca Jaynes, the show was performed by a cast of 22 actor-musicians, with all music played live on stage by the cast. The show also toured Cardiff, Swansea, and other Welsh cities as well as some English cities, receiving a positive review in The Guardian.^[72][73]

A concert performance ran at London's Cadogan Hall from 22–25 August 2012, featuring Dennis Waterman, Ruthie Henshall, Anna-Jane Casey, and Lance Ellington (Strictly Come Dancing), with musical director Richard Balcombe and the Royal Philharmonic Concert Orchestra and Choir.^[74]

In April 2014, a one-night-only performance took place at Carnegie Hall, starring Nathan Lane reprising the role that made him a star, Megan Mullally, Patrick Wilson and Sierra Boggess. It was directed by Jack O'Brien and featured the Orchestra of St. Luke's playing the original orchestrations.^[75]

Reception[edit]

The original Broadway production of Guys and Dolls opened to unanimously positive reviews. Critics praised the musical's faithfulness to Damon Runyon's style and characterizations. Richard Watts of the New York Post said 'Guys and Dolls is just what it should be to celebrate the Runyon spirit . [it is] filled with the salty characters and richly original language sacred to the memory of the late Master'.^[76] William Hawkins of the New York World-Telegram & Sun stated, 'It recaptures what [Runyon] knew about Broadway, that its wickedness is tinhorn, but its gallantry is as pure and young as Little Eva'.^[76] Robert Coleman of the New York Daily Mirror declared, 'We think Damon would have relished it as much as we did'.^[76]

The book and score were greatly praised as well; John Chapman of the New York Daily News declared, 'The book is a work of easy and delightful humor. Its music and lyrics, by Frank Loesser, are so right for the show and so completely lacking in banality, that they amount to an artistic triumph'.^[76] Coleman stated, 'Frank Loesser has written a score that will get a big play on the juke boxes, over the radio, and in bistros throughout the land. His lyrics are especially notable in that they help Burrows's topical gags to further the plot'. In The New York Times, Brooks Atkinson wrote, 'Mr. Loesser's lyrics and songs have the same affectionate appreciation of the material as the book, which is funny without being self-conscious or mechanical'.^[77]

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Multiple critics asserted that the work was of great significance to musical theatre. John McClain of the New York Journal American proclaimed, 'it is the best and most exciting thing of its kind since Pal Joey. It is a triumph and a delight'.^[76] Atkinson stated, 'we might as well admit that Guys and Dolls is a work of art. It is spontaneous and has form, style, and spirit.'^[77] Chapman asserted, 'In all departments, Guys and Dolls is a perfect musical comedy'.^[76]

Film adaptation[edit]

On November 3, 1955 the film version of the musical was released, starring Marlon Brando as Sky, Frank Sinatra as Nathan Detroit, and Jean Simmons as Sarah, with Vivian Blaine reprising her role as Adelaide. The film was directed by Joseph L. Mankiewicz and produced by Samuel Goldwyn.

Three new songs, written by Frank Loesser, were added to the film: 'Pet Me Poppa'; 'A Woman in Love'; and 'Adelaide', which was written specifically for Sinatra. Five songs from the stage musical were omitted from the movie: 'A Bushel and a Peck', 'My Time of Day', 'I've Never Been In Love Before', 'More I Cannot Wish You', and 'Marry the Man Today'.

20th Century Fox acquired the film rights to the musical in early 2013 and was planning a remake.^[78] In March 2019, TriStar Pictures acquired the remake rights.^[79]

Casts of major productions[edit]

The following table shows the principal casts of the major productions of Guys and Dolls:

Casts of major productions

Original Broadway Production	Original London Production	1955 Film	1976 Broadway Revival	1982 London Revival	1992 Broadway Revival	2005 London Revival	2008 Melbourne Production	2009 Broadway Revival
Sky Masterson	Robert Alda	Jerry Wayne	Marlon Brando	James Randolph	Ian Charleson	Peter Gallagher	Ewan McGregor	Ian Stenlake	Craig Bierko
Sister Sarah Brown	Isabel Bigley	Lizbeth Webb	Jean Simmons	Ernestine Jackson	Julie Covington	Josie de Guzman	Jenna Russell	Lisa McCune	Kate Jennings Grant
Nathan Detroit	Sam Levene		Frank Sinatra	Robert Guillaume	Bob Hoskins	Nathan Lane	Douglas Hodge	Garry McDonald	Oliver Platt
Miss Adelaide	Vivian Blaine			Norma Donaldson	Julia McKenzie	Faith Prince	Jane Krakowski	Marina Prior	Lauren Graham
Nicely-Nicely Johnson	Stubby Kaye			Ken Page	David Healy	Walter Bobbie	Martyn Ellis	Shane Jacobson	Tituss Burgess
Arvide Abernathy	Pat Rooney	Ernest Butcher	Regis Toomey	Emett 'Babe' Wallace	John Normington	John Carpenter	Niall Buggy	Russell Newman	Jim Ortlieb
Big Jule	B.S. Pully	Lew Herbert	B.S. Pully	Walter White	Jim Carter	Herschel Sparber	Sevan Stephan	Magda Szubanski	Glenn Fleshler
Harry the Horse	Tom Pedi		Sheldon Leonard	John Russell	Bill Paterson	Ernie Sabella	Norman Bowman	Adam Murphy	Jim Walton
Benny Southstreet	Johnny Silver			Christophe Pierre	Barrie Rutter	J.K. Simmons	Cory English	Wayne Scott Kermond	Steve Rosen

Awards and honors[edit]

Original Broadway production

Year	Award Ceremony	Category	Nominee	Result
1951	Tony Award	Best Musical		Won
		Best Performance by a Leading Actor in a Musical	Robert Alda	Won
		Best Performance by a Featured Actress in a Musical	Isabel Bigley	Won
		Best Choreography	Michael Kidd	Won
		Best Direction of a Musical	George S. Kaufman	Won

1965 New York City Center production

Year	Award Ceremony	Category	Nominee	Result
1965	Tony Award	Best Performance by a Featured Actor in a Musical	Jerry Orbach	Nominated

1976 Broadway revival

Year	Award Ceremony	Category	Nominee	Result
1977	Drama Desk Award	Outstanding Actor in a Musical	Robert Guillaume	Nominated
		Outstanding Featured Actress in a Musical	Ernestine Jackson	Nominated
	Theatre World Award		Ken Page	Won
	Tony Award	Best Revival		Nominated
		Best Performance by a Leading Actor in a Musical	Robert Guillaume	Nominated
		Best Performance by a Leading Actress in a Musical	Ernestine Jackson	Nominated

1982 London revival

Year	Award Ceremony	Category	Nominee	Result
1982	Critics' Circle Theatre Award[80]	Best Actor	Bob Hoskins	Won
		Best Designer	John Gunter	Won
	Evening Standard Award	Best Director	Richard Eyre	Won
	Laurence Olivier Award	Best Musical of the Year		Won
		Best Actor in a Musical	Bob Hoskins	Nominated
		Best Actress in a Musical	Julia McKenzie	Won
		Best Performance in a Supporting Role in a Musical	David Healy	Won
		Best Director	Richard Eyre	Won
		Best Set Design	John Gunter	Won

1992 Broadway revival

Year	Award Ceremony	Category	Nominee	Result
1992	Drama Desk Award	Outstanding Revival		Won
		Outstanding Actor in a Musical	Nathan Lane	Won
			Peter Gallagher	Nominated
		Outstanding Actress in a Musical	Faith Prince	Won
		Outstanding Featured Actor in a Musical	Walter Bobbie	Nominated
		Outstanding Director of a Musical	Jerry Zaks	Won
		Outstanding Choreography	Christopher Chadman	Nominated
		Outstanding Set Design	Tony Walton	Won
		Outstanding Costume Design	William Ivey Long	Won
		Outstanding Lighting Design	Paul Gallo	Won
	Tony Award	Best Revival		Won
		Best Performance by a Leading Actor in a Musical	Nathan Lane	Nominated
		Best Performance by a Leading Actress in a Musical	Faith Prince	Won
			Josie de Guzman	Nominated
		Best Direction of a Musical	Jerry Zaks	Won
		Best Choreography	Christopher Chadman	Nominated
		Best Scenic Design	Tony Walton	Won
		Best Lighting Design	Paul Gallo	Nominated

1996 London revival

Year	Award Ceremony	Category	Nominee	Result
1996	Critics' Circle Theatre Award	Best Director	Richard Eyre	Won
1997	Laurence Olivier Award	Best Actress in a Musical	Imelda Staunton	Nominated
			Joanna Riding	Nominated
		Best Performance in a Supporting Role in a Musical	Clive Rowe	Won

2005 London revival

Year	Award Ceremony	Category	Nominee	Result
2006	Laurence Olivier Award	Outstanding Musical Production		Won
		Best Actor in a Musical	Douglas Hodge	Nominated
			Ewan McGregor	Nominated
		Best Actress in a Musical	Jane Krakowski	Won
			Jenna Russell	Nominated
		Best Theatre Choreographer	Rob Ashford	Nominated
		Best Sound Design	Terry Jardine and Chris Full	Nominated
		Best Lighting Design	Howard Harrison	Nominated

2008 Australian production

Year	Award Ceremony	Category	Nominee	Result
2008	Helpmann Award	Best Musical		Nominated
		Best Actress in a Musical	Marina Prior	Nominated
		Best Supporting Actor in a Musical	Shane Jacobson	Won
		Best Direction in a Musical	Michael Grandage and Jamie Lloyd	Nominated
		Best Choreography in a Musical	Rob Ashford	Nominated
		Best Sound Design	Chris Full, John Scandrett and Nick Reich	Nominated

2009 Broadway revival

Year	Award Ceremony	Category	Nominee	Result
2009	Tony Award	Best Revival of a Musical		Nominated
		Best Scenic Design	Robert Brill	Nominated

2015 London revival

Year	Award Ceremony	Category	Nominee	Result
2015	Laurence Olivier Award	Best Musical Revival		Nominated
		Best Actor in a Musical	David Haig	Nominated
			Jamie Parker	Nominated
		Best Actress in a Musical	Sophie Thompson	Nominated
		Best Actor in a Supporting Role in a Musical	Gavin Spokes	Nominated
		Best Theatre Choreographer	Carlos Acosta & Andrew Wright	Nominated

Recordings[edit]

There are numerous recordings of the show's score on compact disc. The most notable include:

• Original 1950 Broadway Cast^[81]
• 1955 Film Soundtrack^[82][83]
• 1963 Reprise Musical Repertory Theatre studio recording (Bing Crosby, Frank Sinatra, Debbie Reynolds, Dean Martin, Jo Stafford, The McGuire Sisters, Dinah Shore, Sammy Davis, Jr., Allan Sherman)^[84]
• 1976 Broadway Revival Cast^[85]
• 1982 London Revival Cast^[86][87]
• 1992 Broadway Revival Cast^[88]
• 1995 Complete Studio Recording (features the entire score for the first time on CD; with Frank Loesser's daughter Emily as Sarah Brown; conducted by John Owen Edwards)^[89]

Gypsy Original Broadway Cast Rar Extractors

Notes[edit]

1. ^ ^abNadel, Ira Bruce. Double act: a life of Tom Stoppard. Methuen, 2002. p. 542.
2. ^'Damon Runyon'. Authors. The eBooks-Library. Retrieved 2008-07-20.
3. ^Stempel, 435
4. ^Suskin, 275
5. ^ ^abZolotow, Maurice. 'Guys, Dolls and Runyon'. The New York Times, Nov. 12, 1950, Section 2, p. 1,3.
6. ^ ^abStempel, 434
7. ^Suskin, 272-276
8. ^Burrows, Abe (1980). Honest Abe. Boston: Atlantic-Little, Brown, p. 149, cited in Stempel, 434-435
9. ^Scott Simon (host). 'Creation of the musical Guys and Dolls, Weekend Edition Saturday, National Public Radio, November 2=pk2000
10. ^Herrmann, Dorothy (1982). With Malice Toward All. New York: G. P. Putnam's Sons. pp. 60–61.
11. ^Guys and Dolls | IBDB: The official source for Broadway Information. IBDB. Retrieved on 2012-05-21.
12. ^Listing, 1953 guidetomusicaltheatre.com, retrieved March 5, 2010
13. ^The London Coliseum history, Programme arthurlloyd.co.uk, retrieved March 5, 2010
14. ^Norton, Richard C. A Chronology of American Musical Theater: 1952 - 2001, Volume 3 Oxford Univ. Press, 2002. p. 33.
15. ^'Guys and Dolls (City Center Revival, 1955)' broadwayworld.com 2011. Last accessed 22 Mar 2011.
16. ^'Guys and Dolls (City Center Revival, 1966)'. Broadwayworld.com
17. ^Vermilye, Jerry. 'Guys and Dolls'The Complete Films of Laurence Olivier, Citadel Press, 1992, ISBN0-8065-1302-0, p. 53
18. ^Eyre, Richard. 'Directing the National Theatre Guys and Dolls.' In: Loesser, Frank, et al. The Guys and Dolls Book. Methuen, 1982. p. 36.
19. ^Mordden, Ethan. Broadway Babies: The People Who Made the American Musical. Oxford University Press US, 1988. p. 230.
20. ^The New Yorker, Volume 64, Issues 1-10. F-R Pub. Corp., 1988. p. 103
21. ^Battersby, Kate. 'The Cast Were in Shock at the Avalanche of Appreciation.'The Telegraph. May 31, 2005.
22. ^Kullman, Colby H. and William C. Young.Theatre Companies of the World, Volume 1. Greenwood Press, 1986. p. 691.
23. ^'Huge Team Help Stage Revival of Broadway's Guys and Dolls.'The Bath Chronicle. April 21, 2011.
24. ^Jensen, Gregory. 'How the British beat Broadway at its own game', United Press International, March 22, 1982 (no page number)
25. ^Jensen, Gregory. 'London's West End outscores Broadway with bonanza of hit-and-miss musicals', United Press International, February 22, 1984
26. ^Wolf, Matt. 'Musical on Jean Seberg Stirs Controversy in London', The Associated Press, November 11, 1983 (no page number)
27. ^Guys and Dolls (Royal National Theatre Production, 1984) at BroadwayWorld.com
28. ^Scottish Field, Volume 131. Holmes McDougall, 1985.
29. ^'Guys and Dolls' listing, Prince of Wales Theatre' thisistheatre.com, retrieved May 28, 2010
30. ^Benedict, David. 'Good Night, Sweet Prince.'The Independent. 6 January 1995.
31. ^Rich, Frank.Review/Theater: Guys and Dolls; Damon Runyon's New York Lives Anew'The New York Times, April 15, 1992
32. ^Guys and Dolls: Off the Record DVD
33. ^Guys and Dolls: Off the Record at the Internet Movie Database
34. ^Guys and Dolls at the UK Theatre Web
35. ^'Guys and Dolls', 1996' broadwayworld.com, retrieved May 28, 2010
36. ^'Olivier Winners 1997' officiallondontheatre.co.uk, retrieved May 28, 2010
37. ^playbill.com/news/article/107294.html 'Adelaide's Lament: London Guys and Dolls Closes April 14'Archived 2011-10-20 at the Wayback Machine, playbill.com,
38. ^Gans, Andrew. 'Guys and Dolls Revival Unlikely for Spring'Archived 2007-10-14 at the Wayback Machine, playbill.com, September 11, 2007
39. ^'Luck Be a Lady': Guys and Dolls Returns to Broadway Feb. 5Archived 2009-02-22 at the Wayback Machine broadway.com
40. ^Guys & Dolls Revival Plays First Preview bwaybeat.blogspot.com
41. ^Review summary for 2009 Guys and Dolls at New York Theatre Guide
42. ^Brantley, Ben. 'It’s a Cinch That the Bum Is Under the Thumb of Some Little Broad',The New York Times, March 2, 2009
43. ^Vincentelli, Elisabeth. 'This Revival is a Bad Bet: Guys & Dolls Bores in Broadway Return.'New York Post. March 2, 2009.
44. ^Feldman, Adam.Review:Guys and DollsTime Out New York, Mar 5–11, 2009
45. ^Lahr, John. 'Broadway Boogie-Woogie: Guys and Dolls Rolls the Dice Again.'The New Yorker. March 9, 2009.
46. ^Riedel, Michael, The New York Post, 'PRODUCER BACKS PLAY THE CRITICS DON'T LIKE', March 4, 2009, p. 40
47. ^Adelaide's New Lament: Broadway's Guys and Dolls to Close June 14Archived 2009-06-12 at the Wayback Machine
48. ^'Full casting announced for Guys and Dolls at the Savoy Theatre in London's West End'. www.londontheatre.co.uk. Retrieved 2016-01-15.
49. ^http://attitude.co.uk/review-rebel-wilson-in-guys-and-dolls-at-londons-phoenix-theatre/
50. ^'GUYS AND DOLLS Confirmed to Transfer to the Phoenix Theatre!'. Retrieved 2016-01-29.
51. ^ ^abcMasso, Giverny. 'Cast announced for UK’s first all-black 'Guys and Dolls' thestage.co.uk, October 18, 2017
52. ^'Casting Revealed For UK's First All-Black GUYS AND DOLLS' ' broadwayworld.com, October 18, 2017
53. ^'Jubilee Manchester Royal Exchange'The Guardian, June 7, 2017
54. ^Gans, Andrew. 'Cast Announced for U.K.’s First All-Black Production of 'Guys and Dolls' ' Playbill, October 18, 2017
55. ^[1] digitalspy.com
56. ^[2] metro.co.uk, October 18, 2017
57. ^Guys and Dolls talawa.com
58. ^https://www.theguardian.com/stage/2017/nov/13/guys-and-dolls-manchester-royal-exchange-michael-buffong-interview
59. ^https://www.theguardian.com/stage/2017/dec/07/guys-and-dolls-review-royal-exchange-manchester
60. ^https://www.thetimes.co.uk/article/theatre-review-guys-and-dolls-at-the-royal-exchange-theatre-manchester-3vl9kxlrz
61. ^https://www.theguardian.com/stage/2017/dec/10/guys-and-dolls-review-colourful-characters-royal-exchange-manchester
62. ^Butler, Michelle. “Guys and Dolls: A Musical Fable of Broadway” talkinbroadway.com
63. ^Boehm, Mike. “A 'Guys and Dolls' Just Like Harlem” latimes.com, April 14, 2002.
64. ^Jones, Kenneth, and Robert Simonson. “Indian Ink, Cabaret Lead 2000 Helen Hayes Award Winners” playbill.com, May 9, 2000.
65. ^Simonson, Robert, and Christine Ehren. “Arena Stage Guys and Dolls to Tour U.S. Starting Fall 2001; Goal Is Bway” playbill.com, Jan. 23, 2001.
66. ^Simonson, Robert. “National Tour of Hines Guys and Dolls to Begin Aug. 28” playbill.com, May 10, 2001.
67. ^Jones, Kenneth, and Robert Simonson. “Still Rockin' the Boat: Touring Guys and Dolls Gets Cast Album Nov. 6” playbill.com, Nov. 6, 2001.
68. ^Gans, Andrew. “Bernadette Peters, Hairspray and Millie Among Grammy Nominees” playbill.com, Jan. 7, 2003.
69. ^Glickman, Stephanie. 'Guys and Dolls' review, Australian Stage australianstage.com, 08 April 2008
70. ^Blake, Jason. 'Guys and Dolls' review, The Sydney Morning Herald smh.com.au, March 16, 2009
71. ^Gans, Andrew. 'Luck Be a Lady': Guys and Dolls in Concert Plays the Hollywood Bowl July 31-Aug. 2' playbill.com, July 31, 2009
72. ^Mahoney, Elisabeth. 'Guys and Dolls – Review: New Theatre, Cardiff'.The Guardian. 16 March 2011.
73. ^'Guys And Dolls - UK Tour 2011'. Westend.Broadwayworld.com
74. ^'Cadogan Hall website'.
75. ^'Stand Up, They're Rocking the Boat, Like 1950 Again : 'Guys and Dolls' Is Performed as a Benefit for Carnegie Hall'. The New York Times. Retrieved 2014-06-06.
76. ^ ^abcdefSuskin, Steven. Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre, pp. 272-276. Schirmer Books, New York, 1990. ISBN0-02-872625-1
77. ^ ^abAtkinson, Brooks. 'At the Theatre'. The New York Times, November 25, 1950. p. 21
78. ^Fleming Jr., Mike 'Fox Seals ‘Guys And Dolls’ Rights; Wants Channing Tatum, Joseph Gordon-Levitt To Fill Frank Sinatra And Marlon Brando Shoes.'Deadline Hollywood (April 24, 2013).
79. ^Brett Lang; Justin Kroll. ''Guys and Dolls' Getting Remade at TriStar (EXCLUSIVE)'. Variety. Retrieved 26 March 2019.
80. ^Critics Circle Awards – 1982
81. ^Guys & Dolls: 1950 Original Broadway Cast Recording 2000 CD
82. ^Guys and Dolls: 1955 Movie Soundtrack 2007 Blue Moon Imports CD
83. ^Guys & Dolls: 1955 Movie Soundtrack 101 Distribution 2009 CD
84. ^Guys and Dolls: 1976 Studio Recording (1976 date is incorrect) 1992 CD
85. ^Guys and Dolls: 1976 Broadway Revival Cast Recording 1991 CD
86. ^Guys and Dolls: Original 1982 London National Theatre Cast EMI 2007 CD
87. ^Guys and Dolls: Original 1982 London National Theatre Cast Music for Pleasure 1992 CD
88. ^Guys and Dolls: 1992 Broadway Revival Cast 2009 CD
89. ^Guys and Dolls: 1995 Complete Studio Cast Recording 1996 2-CD set

References[edit]

• Davis, Lee. 'The Indestructible Icon'. ShowMusic. Winter 2000–01: 17–24, 61–63.
• Loesser, Susan (1993).: A Most Remarkable Fella: Frank Loesser and the Guys and Dolls in His Life. New York: Donald I. Fine. ISBN0-634-00927-3.
• Stempel, Larry (2010). Showtime: A History of the Broadway Musical Theater. New York: W. W. Norton and Company. ISBN0-393-92906-X.
• Suskin, Stephen (1990). Opening Night on Broadway: A Critical Quotebook of the Golden Era of the Musical Theatre. New York: Schrimmer Books. ISBN0-02-872625-1.

External links[edit]

Wikimedia Commons has media related to Guys and Dolls (musical).

Wikiquote has quotations related to: Guys and Dolls

• Guys and Dolls at the Internet Broadway Database
• Guys and Dolls at the Music Theatre International website
• Guys and Dolls JR. at the Music Theatre International website
• Guys and Dolls at the Guide to Musical Theatre
• Guys and Dolls at StageAgent.com

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Guys_and_Dolls&oldid=912652033'

(Redirected from Gypsy: A Musical Fable)

Gypsy
A Musical Fable
Music	Jule Styne
Lyrics	Stephen Sondheim
Book	Arthur Laurents
Basis	Gypsy: A Memoir by Gypsy Rose Lee
Productions	1959 Broadway 1962 Film 1973 West End 1974 Broadwayrevival 1989 Broadway revival 1993 US television 2003 Broadway revival 2008 Broadway revival 2015 West End revival
Awards	1989 Tony Award for Best Revival 2016 Laurence Olivier Award for Best Revival

Gypsy is a 1959 musical with music by Jule Styne, lyrics by Stephen Sondheim, and a book by Arthur Laurents. Gypsy is loosely based on the 1957 memoirs of Gypsy Rose Lee, the famous striptease artist, and focuses on her mother, Rose, whose name has become synonymous with 'the ultimate show business mother.' It follows the dreams and efforts of Rose to raise two daughters to perform onstage and casts an affectionate eye on the hardships of show business life. The character of Louise is based on Lee, and the character of June is based on Lee's sister, the actress June Havoc.

The musical contains many songs that became popular standards, including 'Everything's Coming up Roses', 'Together (Wherever We Go)', 'Small World', 'You Gotta Get a Gimmick', 'Let Me Entertain You', 'All I Need Is the Girl', and 'Rose's Turn'.

It is frequently considered one of the crowning achievements of the mid-20th century's conventional musical theatre art form, often called the book musical. Gypsy has been referred to as the greatest American musical by numerous critics and writers, among them Ben Brantley ('what may be the greatest of all American musicals.')^[1] and Frank Rich.^[2] Rich wrote that 'Gypsy is nothing if not Broadway's own brassy, unlikely answer to King Lear.'^[3] Theater critic Clive Barnes wrote that 'Gypsy is one of the best of musicals.' and described Rose as 'one of the few truly complex characters in the American musical.'^[4]

• 2Synopsis
• 3Songs
• 5Productions
  • 5.8Other productions
• 6Film and TV versions
• 10Awards and honors

Background[edit]

A musical based on the memoirs of Gypsy Rose Lee was a project of producer David Merrick and actress Ethel Merman. Merrick had read a chapter of Lee's memoirs in Harper's Magazine and approached Lee to obtain the rights. Jerome Robbins was interested, and wanted Leland Hayward as co-producer; Merman also wanted Hayward to produce her next show.^[5] Merrick and Hayward approached Arthur Laurents to write the book. As he relates, Laurents initially was not interested until he saw that the story was one of parents living their children's lives. Composers Irving Berlin and Cole Porter declined the project. Finally, Robbins asked Stephen Sondheim, who agreed to do it. Sondheim had worked with Robbins and Laurents on the musical West Side Story. However, Merman did not want an unknown composer, and wanted Jule Styne to write the music. Although Sondheim initially refused to write only the lyrics, he was persuaded by Oscar Hammerstein to accept the job.^[6]

Synopsis[edit]

Act I[edit]

Rose and her two daughters, Baby June and Louise, play the vaudeville circuit around the United States in the early 1920s. Rose, the archetype of a stage mother, is aggressive and domineering, pushing her children to perform. While June is an extroverted, talented child star, the older girl, Louise, is shy. The kiddie act has one song, 'May We Entertain You', that they sing over and over again, with June always as the centerpiece and Louise often as one of the 'boys' ('Baby June and Her Newsboys'). Rose has big dreams for the girls but encounters setbacks, such as attempting to borrow money from her father ('Some People'). When Rose meets a former agent, Herbie, she persuades him to become their manager using her seductive and feminine wiles ('Small World'). The girls grow up, and June, now billed as Dainty June, and her act have a chance to perform for Mr. Goldstone of the Orpheum Circuit ('Mr. Goldstone, I Love You'). Meanwhile, Louise celebrates her birthday alone and asks her birthday present, a lamb, just how old she is this year ('Little Lamb'). After Rose rejects Herbie's marriage proposal, he considers leaving, but she asserts that he could never get away from her ('You'll Never Get Away From Me').

Now billed as 'Dainty June and Her Farmboys', the act finally performs on the Orpheum Circuit ('Dainty June and Her Farmboys'). June is soon offered a place at a Performing Arts school after an audition. However, Rose turns this down, refusing to break up the act. Louise and June fantasize what life would be like if Rose were married and finished with show business ('If Momma Was Married'). A few months later, still on the road from show to show, Tulsa, one of the boys from the act, confides in Louise that he has been working on his own act ('All I Need Is the Girl'), and Louise fantasizes that she and he could do the act together. Shortly after, June is missing, and in a note, she explains that she has grown sick of her mother and the endless tour and has eloped with Tulsa, and they will do a new act. Rose is hurt, but then optimistically vows that she will make Louise a star, proclaiming that 'Everything's Coming up Roses'.

Act II[edit]

Louise is now a young woman, and Rose has built a pale imitation of the Dainty June act for her. Using all girls, Rose and Herbie try valiantly to sell 'Madame Rose's Toreadorables' to a fading vaudeville industry. However, they are still together ('Together, Wherever We Go'). With no vaudeville venues left, Louise and her second-rate act wind up accidentally booked at a burlesque house in Wichita, Kansas, as a means to deter police raids. Rose is anguished, as she sees what a booking in burlesque means to her dreams of success, but Louise persuades her that two weeks' pay for the new act is better than unemployment. As they are introduced to Louise, three of the strippers on the bill advise her on what it takes to be a successful stripper, a 'gimmick,' something that 'makes your strip special' ('You Gotta Get a Gimmick'). Backstage, Rose proposes marriage to Herbie. He asks her to break up the act and let Louise have a normal life, and she reluctantly accepts, agreeing to marry the day after their show closes. On the last day of the booking, the star stripper in the burlesque show is arrested for solicitation. Desperate, Rose cannot resist the urge to give Louise another nudge toward stardom, and she volunteers Louise to do the strip tease as a last-minute replacement. Louise is sad at what she's being pushed to do for her mother's love and Herbie is disgusted at how low Rose has stooped and he finally walks out on her ('Small World' (Reprise)). Although reluctant, Louise goes on, assured by Rose that she needn't actually strip, but simply walk elegantly and tease by dropping a single shoulder strap. Shy and hesitant, she sings a titillating version of the old kiddie act song, 'May We Entertain You?'. She removes only her glove, but she speaks directly to her 'audience', which becomes her 'gimmick' ('Let Me Entertain You' '(Gypsy Strip Tease)').

Louise becomes secure, always following her mother's advice to 'Make 'em beg for more, and then don't give it to them!' The song becomes brasher and brassier, and more and more articles of clothing come off. Ultimately, Louise becomes a major burlesque star and does not need her mother any longer. Rose and Louise, who has become the sophisticated 'Gypsy Rose Lee', have a bitter argument. Rose, feeling sad, useless and bitter, reveals that the true motivation for all her actions has been to live vicariously through her daughters, to chase the stardom she wanted for herself, not her children ('Roses Turn'). She realizes that she has driven away June, Herbie, and now possibly Louise. She displays the talent that could have been under different circumstances, as the name 'Rose' flashes in neon lights. After her admission to Louise, mother and daughter tentatively move toward reconciliation in the end.

• In the 1974 and 2008 Broadway revivals, although the final dialogue scene remains, there is not a happy ending, but rather a bleak, sad one as all hopes of reconciliation for Rose and Louise fall flat when Louise walks away, laughing sarcastically at Rose's new 'dream.' The audience is then left with a Rose whose dream of her own lit up marquee slowly fades away to her unrealistic dreams.
• In the 2003 revival starring Bernadette Peters, the final dialogue scene remains, but leaves the ending open to more interpretation from the audience. Louise walks through the stage door, with Rose following behind. Rose then turns to face the audience, a look of sadness and longing on her face as she takes one last look at the empty stage. She pauses and slowly closes the door.
• In the 2015 West End revival starring Imelda Staunton, Louise begins to walk out, and Rose catches up after waking up to reality. Louise puts her arm around Rose as they exit together, giving the appearance that Louise is now taking care of Rose.

Songs[edit]

Act I[edit] 'Overture' – Orchestra 'May We Entertain You?'[i] – Baby June and Baby Louise 'Some People' – Rose 'Some People' (Reprise) – Rose 'Small World' – Rose and Herbie 'Baby June and Her Newsboys' – Baby June and Newsboys 'Mr. Goldstone, I Love You'[ii] – Rose, Herbie, Ensemble 'Little Lamb' – Louise 'You'll Never Get Away From Me' – Rose and Herbie 'Dainty June and Her Farmboys' – June and Farmboys 'Broadway' – June and Farmboys 'If Momma Was Married' – June and Louise 'All I Need Is the Girl' – Tulsa [iii] 'Everything's Coming up Roses' – Rose

Act II[edit] 'Entr'acte' - Orchestra 'Madame Rose's Toreadorables' – Louise, Rose and the Hollywood Blondes 'Together, Wherever We Go'[iv] - Rose, Herbie, and Louise 'You Gotta Get a Gimmick' – Mazeppa, Electra, and Tessie Tura 'Small World' (Reprise) – Rose 'Let Me Entertain You'[v] – Louise 'Rose's Turn' – Rose

Notes on songs[edit]

1. ^Titled 'Let Me Entertain You (Rose's Entrance)' in the 2015 West End revival
2. ^Titled 'Mr. Goldstone' in the 2003 revival, 'Have an Eggroll, Mr. Goldstone' in the 2008 revival, and 'Mr. Goldstone' again in the 2015 West End revival
3. ^Per sondheimguide.com,^[7] only Tulsa sings this song; per IBDB,^[8] both Tulsa and Louise sing the song, due perhaps to the fact that, in several cast recordings, Louise's laughter can be heard at the end of the final dance break.
4. ^In the 1973 London and 1974 Broadway productions, this number featured an extended dance sequence in the middle of the song, which was not featured in the original score
5. ^Titled 'The Strip' in the 2008 revival^[9] and on the recording of the 1989 revival.^[10]

During the pre-Broadway tryout tour, several songs were cut, including a song for Herbie called 'Nice She Ain't' (cut because it was given to Jack Klugman one week prior to opening and he could not memorize the keys and staging in time),^[6] and a song for Baby June and Baby Louise titled 'Mama's Talkin' Soft'. The latter song was cut partly because the staging required the little girls to stand on a platform elevated above the stage, which terrified the young actress playing Baby Louise and partly because the show was running too long.^[6] 'Mama's Talkin' Soft' was later recorded by Petula Clark and released as a single in the UK in 1959.^[11] Other cut songs include 'Mother's Day', a song for Baby June's act, 'Smile, Girls', which involves Rose trying to teach the untalented girls to smile in order to make the act look good, 'Who Needs Him?', which Rose sings to herself after Herbie leaves her, and 'Three Wishes for Christmas', a burlesque number similar to one that would be performed at Minsky's Burlesque.^[12]

Dramatic analysis[edit]

In analyzing the character of Rose, Clive Barnes described her as 'bossy, demanding, horrific'.^[4] Rich described Rose as 'a monster'.^[2] Critic Walter Kerr commented that though Rose is a monster, she must be liked and understood.^[13]Patti LuPone describes Rose: 'She has tunnel vision, she's driven, and she loves her kids. And she is a survivor. I do not see her as a monster at all—she may do monstrous things, but that does not make a monster.'^[14] Sondheim has said of the character: 'The fact that she's monstrous to her daughters and the world is secondary. She's a very American character, a gallant figure and a life force.'^[15] Sondheim also noted, 'Yet the end of Gypsy is not entirely bleak. Louise comes out a star and forgives her mother. There is hope for her. Rose does confront who she is in 'Rose's Turn.' There is a catharsis. It's not Rodgers and Hammerstein, but you feel maybe the mother and daughter will come to an understanding and maybe triumph over Rose's craziness and Louise's bitterness.'^[15]

Brantley noted that Rose is a 'mythic character'. She is '[t]raditionally presented as an armored tank on autopilot, which finally crashes only minutes before the final curtain'.^[1]

Bernadette Peters' take on the character was different: 'Rose was a woman who was traumatized by her own mother leaving her at an early age. I think that longing for acceptance is what fuels all her ambition. In the end, when she confronts herself in 'Rose's Turn', she realizes she has failed her daughter just as her own mother failed her.and that destroys Rose. There is a vulnerability to Rose that makes her human, not just some loud and cartoonish parody of a stage mother.'^{[citation needed][16]}

Productions[edit]

Original production[edit]

The original Broadway production opened on May 21, 1959 at The Broadway Theatre, transferred to the Imperial Theatre, and closed on March 25, 1961 after 702 performances and two previews. The show was produced by David Merrick and directed and choreographed by Jerome Robbins. Ethel Merman starred as Rose, with Jack Klugman as Herbie and Sandra Church as Louise. Scenic and Lighting design were by Jo Mielziner and costumes were by Raoul Pène Du Bois. The orchestrations, including an overture,^[17] were supplied by Sid Ramin and Robert Ginzler.

Critic Frank Rich has referred to Robbins' work as one of the most influential stagings of a musical in American theatrical history.^[2] The original production received eight Tony Award nominations, including Best Musical, Best Actress in a Musical, Best Featured Actor in a Musical, Best Featured Actress in a Musical, Best Scenic Design, Best Costume Design and Best Direction of a Musical, but failed to win any.

When the show closed in March 1961, two national touring companies toured the US. The first company starred Merman and opened in March 1961 at the Rochester, New York Auditorium, and closed in December 1961 at the American, St. Louis, Missouri. The second national company starred Mitzi Green as Rose, followed by Mary McCarty. A young Bernadette Peters appeared in the ensemble and understudied Dainty June, a role she would play the following year in summer stock, opposite Betty Hutton's Rose. It opened in September 1961 at the Shubert Theatre, Detroit and closed in January 1962 at the Hanna, Cleveland, Ohio.

1973 London production[edit]

In 1973, it was announced that Elaine Stritch would be starring in the first West End production of the show. However, when ticket sales proved to be unsuccessful, producers hired the more familiar Angela Lansbury (according to Craig Zadan, 'The .producers were not able to raise the required capital on Stritch's name, and the promise of a new production.became ominously distant').^[18] The West End production opened at the Piccadilly Theatre on May 29, 1973. It was produced by Barry M. Brown and Fritz Holt, in association with Edgar Lansbury (Angela's brother) and directed by the show's author, Arthur Laurents, with choreography reproduced by Robert Tucker. The supporting cast featured Zan Charisse, Barrie Ingham, Debbie Bowen and Bonnie Langford. Lansbury left the London production in December 1973 to tour the show in the USA and was succeeded by Dolores Gray. The production closed on March 2, 1974, after 300 performances.

1974 Broadway revival[edit]

Prior to opening on Broadway, the Lansbury West End production had a 24-week tour of North America, starting in Toronto, and then travelling to many cities, including Los Angeles, Philadelphia, Washington, DC and Boston.^[19] The production opened on Broadway at the Winter Garden Theatre on September 23, 1974 for a planned limited engagement, and closed on January 4, 1975 after 120 performances and four previews.^[20] The cast remained mainly the same on Broadway, except that Rex Robbins played Herbie, Maureen Moore (later Bernadette Peters' understudy as Rose in the 2003 revival) played the adult June, and Mary Louise Wilson was Tessie Tura. Angela Lansbury won the 1975 Tony Award.

1989 Broadway revival[edit]

A second revival had pre-Broadway engagements starting at the Jackie Gleason Theater of the Performing Arts, Miami Beach, Florida, in May 1989,^[21] and Tampa in May, then The Muny, St. Louis, in June 1989,^[22] moving to the Los Angeles Music Center and Orange County Performing Arts Center, Costa Mesa, California in July 1989,^[23] and at the Kennedy Center in August and September 1989, with several other venues prior to Broadway.^[24]

The production opened on Broadway on November 16, 1989, at the St. James Theatre, and then moved to the Marquis Theatre on April 18, 1991 and closed on July 28, 1991 after 476 performances and 23 previews. Laurents returned as director, with Tyne Daly as Rose, Jonathan Hadary as Herbie and Crista Moore as Louise. Linda Lavin (on July 30, 1990) and Jamie Ross replaced Daly and Hadary respectively, with Daly returning to the production at the Marquis Theatre from April 18, 1991^[25] until closing.

This production won the Drama Desk Award for Outstanding Revival and Daly won the Tony Award for Best Actress in a Musical for her performance.

Jule Styne, in a 1989 interview in connection with the California tryout, said: 'About six months ago, Bette Midler wanted to buy it (Gypsy) for a movie. We wouldn't sell it. Because they'd only destroy it.'^[23]USA Today reported that 'Both Liza Minnelli and Bernadette Peters say they would love to play it, but they weren't even approached for this production.'^[24]

2003 Broadway revival[edit]

A new Broadway revival began previews on March 31, 2003 and opened on May 1, 2003 at the Shubert Theatre. The director was Sam Mendes, with choreography by Jerry Mitchell and costumes and sets by Anthony Ward. Bernadette Peters played the role of Rose. The New York Times described Peters as 'a surefire box office draw who nonetheless may surprise some Gypsy aficionados.How will the ladylike Ms. Peters fit into the role of Rose, a part indelibly marked by its brassy, belting originator, Ethel Merman?.'One of the main reasons I wanted to do the piece was to cast someone as Rose that was closer to Rose as she really existed,' Mr. Mendes said. 'She was a tiny woman. And she was a charmer. And so is Bernadette.'^[26] Laurents had talked to Mendes ('Roughly five years ago' according to The New York Times in 2003) about directing the revival, and Mendes said 'he was surprised by the idea of casting Ms. Peters as Rose'.^[27] Laurents notes of his suggestions on this production are in his 2009 book Mainly on Directing 'Gypsy', 'West Side Story' and Other Musicals. In a 2004 interview Laurents said that Peters' portrayal of Rose was 'brilliant, original, totally unlike any of the others' while criticizing Mendes for the 'physical production' which Laurents said 'was misconceived and hurt the show more than people realized.'^[28]Gypsy had begun previews with a virtually bare stage, but by opening night this had been changed to a minimalist set.^[29] The cast featured John Dossett as Herbie, Tammy Blanchard as Louise, Kate Reinders as June and David Burtka as Tulsa. The production was nominated for four Tony Awards, including Best Revival of a Musical and Best Actress in a Musical.

Gypsy Original Broadway Cast Rar Extractor Mac

In his review, Ben Brantley in The New York Times wrote that 'the surprise coup of many a Broadway season.Working against type and expectation under the direction of Sam Mendes, Ms. Peters has created the most complex and compelling portrait of her long career.There have been many illustrious successors to Merman as Rose.Only Ms. Peters, however, can be said to have broken the Merman mold completely.'^[30]

Gypsy twice set new box office records for the Shubert Theatre. Its gross of $853,476 for the week of June 9–14, 2003 was the highest ever gross for a non-holiday week and the subsequent June 15–21, 2003 box office gross of $874,397 represented the highest gross for a show in Shubert history.^[31] However, The New York Times announced that Gypsy would close on February 28, 2004, stating: 'Gypsy sold well for most of 2003. But by early January [2004], with tourists gone and local theatergoers staying inside during a brutal stretch of weather, the production's sales grew increasingly weak. More important, the show's advance sale, the main indicator of a production's staying power, began to shrink rapidly. It stood at less than $2 million yesterday.'^[32] After an increase in the gross, the show's closing was postponed indefinitely, but Gypsy finally closed on May 30, 2004 after 451 performances and 33 previews.^[33] The production is believed to have recouped a little more than half of its $8 million investment.^[33]

2008 Broadway revival[edit]

Patti LuPone first portrayed Rose in Gypsy at the Chicago Ravinia Festival in August 2006, directed by Lonny Price and accompanied by the Chicago Symphony Orchestra.^[34] It began as a concert production but evolved into a full-fledged production featuring Jerome Robbins' original choreography recreated by Bonnie Walker and even a live lamb.^[35] Excitement was generated around LuPone playing the role of Rose and producers were eager to see Price's production, with the hope of moving it to New York. Jack Viertel, the artistic director of New York City CenterEncores! saw the production and was so impressed that he contacted Arthur Laurents, requesting that he direct a new fully staged production of the show for a new summer 'Encores!' program.^[36] From July 9 to 29, 2007, the show was presented at New York City Center with LuPone once again. Directed by Arthur Laurents, the production also featured Laura Benanti as Louise, Boyd Gaines as Herbie and Leigh Ann Larkin as June. Nancy Opel, Marilyn Caskey, and Alison Fraser played the strippers Mazeppa, Electra, and Tessie Tura (Lenora Nemetz assumed the role of Mazeppa / Miss Cratchitt for the Broadway transfer.)

LuPone recounted in her memoirs that, when Laurents began directing this production, he based his direction initially on the 1989 revival, 'because, I think that in Arthur's mind, the Tyne Daly Gypsy had been the last successful production.' However, the cast 'questioned Arthur relentlessly about.the scenes', and he 'tossed the old prompt book out and freed' the actors to explore.^[37]

The Encores! production was a success, and despite Ben Brantley's somewhat negative review of LuPone's performance in The New York Times, the show transferred to Broadway, where it opened at the St. James Theatre on March 27, 2008. Brantley gave the production a rave review, praising LuPone, Laurents and the rest of the cast, and describing the characterizations in the production:

'You see, everyone's starved for attention in Gypsy. That craving, after all, is the motor that keeps showbiz puttering along. And Mr. Laurents makes sure that we sense that hunger in everyone. I was so caught up in the emotional wrestling matches between the characters (and within themselves), that I didn't really think about the songs as songs. There is no separation at all between song and character, which is what happens in those uncommon moments when musicals reach upward to achieve their ideal reasons to be.'^[38]

This production won numerous awards including the Tony Awards and Drama Desk Awards for LuPone, Gaines and Benanti. The show was originally scheduled to close in March 2009 on LuPone's final performance, but closed on January 11, 2009 due to decreases in ticket sales.^[39] Like the 2003 production, this revival also closed at a loss. The production played for 332 performances and 27 previews. On the eve before the final curtain call, LuPone made news when she stopped the show during the song 'Rose's Turn', to scold a patron for taking illegal photographs during the performance.^[40][41]

Patti LuPone had performed in Gypsy prior to Broadway. She has stated that when she was thirteen years old, she starred as Louise in a high-school production of the show. LuPone had voiced interest in heading the 2003 Broadway revival but author Arthur Laurents had reportedly banned her from any future work with his involvement, as she had previously walked out on a production of Jolson Sings Again, written by Laurents, in 1995. LuPone and Laurents subsequently reconciled.^[42]

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2015 West End revival[edit]

Following a run at the Chichester Festival Theatre, which won the Critics' Choice Theatre Award for Best Musical in 2014, a West End revival of Gypsy opened at the Savoy Theatre on April 15, 2015, in a limited run through November 28. Directed by Jonathan Kent with choreography by Stephen Mear and set and costume design by Anthony Ward, the production starred Imelda Staunton as Rose, Peter Davison as Herbie, Lara Pulver as Louise, Gemma Sutton as June, Dan Burton as Tulsa, Anita Louise Combe as Tessie Tura, Louise Gold as Mazzeppa and Julie Legrand as Electra.^[43] The London production was nominated for eight Laurence Olivier Awards at the 2016 ceremony, winning four, including Best Actress in a Musical (Staunton) and Best Musical Revival, the most awards won by a single production in that year.^[44] It also won Best Musical Production and Best Performance in a Musical (for Staunton) at the UK Theatre Awards in 2015.^[45] Staunton also won Best Musical Performance at the Evening Standard Awards in 2015.^[46] The production was also filmed and broadcast on BBC Four over the 2015 Christmas/New Year period^[47] and was first broadcast on PBS' Great Performances in the United States in 2016.

Other productions[edit]

Other notable productions of Gypsy include:

1992 Argentina[edit]

The production opened at the Teatro Astral in Buenos Aires, directed by Víctor García Peralta. Mabel Manzotti starred. The cast included Sandra Guida (as Gypsy), along with Eleonora Wexler and Ambar La Fox.

1998 Mexico[edit]

1977 Marga Lopez as Rose; Claudia Islas as Louise. Enrique Gómez Vadillo, director. Also Raúl Ramírez and Eduardo Alcaraz.

The production opened at the Teatro Silvia Pinal in Mexico City, produced and directed by Silvia Pinal (legendary Luis Buñuel's Viridiana muse). Pinal and her daughter, the rock singer Alejandra Guzmán starred. Guzmán was replaced by Irán Castillo.

1998 Paper Mill Playhouse[edit]

Betty Buckley, Deborah Gibson and Lenny Wolpe starred at the Paper Mill Playhouse in Millburn, New Jersey. Laura Bell Bundy played June.^[48] It was rumored to be Broadway bound, but this did not materialize.

2001 Estonian production[edit]

The production opened at the Theatre Vanemuine in Tartu, directed by Mare Tommingas. The cast included Silvi Vrait as Mama Rose and the production would enjoy a successful run of performances from 2001 through 2003.

2005 Shaw Festival[edit]

This production ran in rep at the Shaw Festival, Niagara-on-the-Lake, Ontario starring Nora McLellan as Rose and Julie Martell as Louise. Martell understudied Tammy Blanchard in the 2003 Broadway revival. Also, Kate Hennig, who has appeared on Broadway as Ms. Wilkinson in Billy Elliot, played Ms. Cratchitt as well as understudying and playing Rose at certain scheduled performances.^[49]

2007 North American tour[edit]

Gypsy was presented by Phoenix Entertainment with Kathy Halenda starring as Rose and Missy Dowse as Louise. The production was directed by Sam Viverto and assisted by Aja Kane. Principal casting also included Ruby Lewis as June, Rachel Abrams as Mazeppa, Claire Norden as Baby June, Loriann Freda as Tessie Tura, Nick Hamel as Herbie, and Maria Egler as Electra.^[50][51] The tour ended in May 2008.

2010 Brazil[edit]

The first Brazilian production opened at Teatro Villa-Lobos, Rio de Janeiro, starring Totia Meirelles as Rose, Renata Ricci as June, and Eduardo Falcão as Herbie. Later the production was transferred to Teatro Alfa, São Paulo.

2010 Czech Republic[edit]

The very first production of the musical Gypsy in Joseph Kajetan Tyl's Theatre in Pilsen was short-lived, no more than 18 performances.^{[citation needed]}

2011 Lyric Stage[edit]

From September 9 to 18, Lyric Stage in Irving, Texas produced the musical. The production featured a 39 piece orchestra and full original orchestrations that had not been heard since 1961 when the original production closed. It also featured an acoustic guitar part, which had been removed prior to the Boston tryout due to pit size. The production, directed by Len Pluger and Music Directed by Jay Dias, starred Sue Mathys as Rose, Ashton Smalling as Dainty June (she has previously been Baby June at Ravinia in 2006) and Caitlin Carter as Tessie Tura, with local performers Mary McElree as Louise and Sonny Franks as Herbie.^[52]

2011 Bristol Riverside Theatre[edit]

Tovah Feldshuh starred as Rose at the Bristol (PA) Riverside Theatre (BRT) production of Gypsy which opened on December 8, 2011 following two nights of previews. The production, directed by BRT artistic director Keith Baker, ran until January 15, 2012.^[53]

2012 Leicester Curve Theatre[edit]

Gypsy opened in Leicester, UK for a 6-week run in March 2012. Directed by Paul Kerryson and starring Australian musical theatre actor Caroline O'Connor as Rose. Among the cast were Victoria Hamilton-Barritt as Louise, David Fleeshman as Herbie, and Daisy Maywood as Dainty June.

2014 Connecticut Repertory Theatre (CRT), Storrs, Connecticut[edit]

In July 2014, Leslie Uggams starred as Rose, directed by Vincent Cardinal (CRT, Artistic Director), with musical direction by David Williams. The production also featured Michael James Leslie as Pop, Scott Ripley as Herbie, Alanna Saunders as June, and Amandina Altomare as Louise. Uggams' appearance marks the first African-American woman to portray Rose in an Equity Production.^[54][55]

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2014 Chichester Festival Theatre, UK[edit]

Gypsy Original Broadway Cast Rar Extractor 2017

In October 2014, Imelda Staunton starred as Rose in a production directed by Jonathan Kent. Lara Pulver performed as Louise, Kevin Whately as Herbie, Louise Gold as Mazeppa, Anita Louise Combe as Tessie Tura and Julie Legrand as Electra. The musical ran to 8 November.^[56]

2017 The Cape Playhouse

In July and August of 2017, The Cape Playhouse presented a celebrated revival of Gypsy that featured Julia Murney as Rose. The production, directed by Michael Rader, choreographed by Jason Sparks and with music direction by Garrett Taylor, broke box office records and featured Caroline Bowman as Louise, James Lloyd Reynolds as Herbie, Tess Soltau as June, Garett Hawe as Tulsa, Jennifer Cody as Tessie and Ms. Cratchit and Wally Dunn as Pop/Goldstone/Webber.^[57]

2018 Porchlight Music Theatre

In October of 2018, E. Faye Butler starred as Rose in a production directed by Michael Weber at Porchlight Music Theatre in Chicago. Daryn Whitney Harrell performed as Louise, Antonio 'Tony' Garcia as Herbie, Aalon Smith as June, Dawn Bless as Mazeppa, Melissa Young as Tessie and Honey West as Electra. The production closed December 29, 2018

Film and TV versions[edit]

Rosalind Russell, Karl Malden, and Natalie Wood starred in the 1962 Warner Bros.film adaptation of the musical. Russell won the Golden Globe Award for Best Actress – Motion Picture Musical or Comedy for her portrayal of Rose.

Gypsy was also adapted as 1993 television movie with Bette Midler playing Rose. Cynthia Gibb portrayed Louise and Jennifer Beck portrayed Dainty June. Bette Midler won the Golden Globe Award for Best Performance by an Actress in a Mini-Series or Motion Picture Made for TV; Michael Rafter won the Emmy Award for Outstanding Individual Achievement in Music Direction. This production was a rare example of a film or TV project in which some of the songs are sung live, and not lip synced to a prerecorded track.^[58]

The 2015 London revival of Gypsy starring Imelda Staunton was recorded live at the Savoy Theatre during its run and broadcast on BBC Four on 27 December 2015. This recording was released on DVD in November 2016.^[59]

Upcoming remake[edit]

In January 2011, the New York Post reported that Barbra Streisand was in negotiations to produce, direct and star in a new film version of Gypsy. In an interview with the New York Post, Arthur Laurents said, 'We've talked about it a lot, and she knows what she's doing. She has my approval.' He said that he would not write the screenplay.^[60][61] In a clarifying statement and report, The New York Times wrote that Streisand would star, but would not produce or direct. Streisand's spokesperson confirmed that 'there have been conversations'.^[62]

However, Frank Rizzo of courant.com reported on March 12, 2011, that the film with Streisand 'is not going to happen, according to playwright-director Arthur Laurents, one of the rights holders to the work.'^[63] But that was contradicted by an August 2011 report by USA TODAY that the plans for a film adaptation of Gypsy were still intact. 'Before writer and director Arthur Laurents died at age 93 last May, there had been much talk about a movie version of Gypsy starring Streisand as Rose. 'We just have to find our team and a writer,' said Streisand. 'It's too bad, because I was looking forward to working with Arthur,' who directed Streisand in her Broadway debut. 'I had seen him a few months before that, and he seemed so strong and healthy.''^[64]

In March 2012, reports stated that Universal Pictures was pressing on with the new film. Streisand was still attached to produce and play Rose, with Joel Silver co-producing and Julian Fellowes scripting.^[65]Playbill reported in October 2015 that 'Universal, which had been working with Streisand on the project, formally put Gypsy in turnaround, meaning it has decided not to develop the film any further. Streisand reportedly has been working with producer Joel Silver on the project, and they are now free to shop their Gypsy around to other studios.'^[66] In April 2016, it was reported that Streisand was in advanced negotiations to star in and produce the film, which will be directed by Barry Levinson and distributed by STX Entertainment.^[67] In July 2016, it was reported that Richard LaGravenese had finished writing the script for the film and that production for the film was aiming to begin in early 2017.^[68] However, on August 3, 2016, it was reported that STX Entertainment 'was withdrawing as distributor and co-financier of the film.'^[69]

In February 2019, it was reported that Amy Sherman-Palladino will write and direct the remake, Silver is still producing, and distributed by New Regency.^[70]

Stage casts[edit]

Principal casts and directors of the Broadway and West End stage productions of Gypsy (Original Broadway Cast and Revivals) (this list shows original cast only, not replacements):

Gypsy Original Broadway Cast Rar Extractor Download

Casts and directors of Broadway and West End productions of Gypsy

Productions	Rose	Louise	Dainty June	Herbie	Tulsa	Tessie Tura	Mazeppa	Electra	Director
1959 Broadway original	Ethel Merman	Sandra Church	Lane Bradbury	Jack Klugman	Paul Wallace	Maria Karnilova	Faith Dane	Chotzi Foley	Jerome Robbins
1973 West End	Angela Lansbury	Zan Charisse	Bonnie Langford	Barrie Ingham	Andrew Norman	Valerie Walsh	Kelly Wilson	Judy Cannon	Arthur Laurents
1975 Broadway revival				Rex Robbins	John Sheridan	Mary Louise Wilson	Gloria Rossi	Sally Cooke
1989 Broadway revival	Tyne Daly	Crista Moore	Tracy Venner	Jonathan Hadary	Robert Lambert	Jana Robbins	Barbara Erwin	Anna McNeely
2003 Broadway revival	Bernadette Peters	Tammy Blanchard	Kate Reinders	John Dossett	David Burtka	Heather Lee	Kate Buddeke	Julie Halston	Sam Mendes
2008 Broadway revival	Patti LuPone	Laura Benanti	Leigh Ann Larkin	Boyd Gaines	Tony Yazbeck	Alison Fraser	Lenora Nemetz	Marilyn Caskey	Arthur Laurents
2015 West End revival	Imelda Staunton	Lara Pulver	Gemma Sutton	Peter Davison	Dan Burton	Anita Louise Combe	Louise Gold	Julie Legrand	Jonathan Kent

Recordings[edit]

There are recordings of each of the Broadway and London productions, as well as the film and television productions. The original 1959 and revival 2003 cast albums each won the Grammy Award, Best Original Cast Show Album.

The original Broadway cast album was Ethel Merman's first recording in the then-new stereophonic sound technology. Motion pictures recorded in stereo had been steadily made since 1953, and stereo was first used on magnetic tape in 1954, but it was not until 1958, a year before Gypsy opened, that it became possible to use this technology on records.^[71]

Original Broadway Cast Gypsy

The 1974 Broadway recording was not an actual recording of the Broadway revival, but a remix of the London Cast recording of 1973 with a new recording of 'Some People'.

The 1989 Broadway cast recording was released in 1990.^[72]

The 2008 Broadway cast recording was released August 28, 2008.

The 2015 West End cast recording was recorded at Angel Recording Studios in London on 9 March 2015 and was released on 27 April 2015.

Other performances[edit]

The 2001 Royal Variety Performance featured Cilla Black, Paul O'Grady (in his Lily Savage persona), and Barbara Windsor singing 'You Gotta Get a Gimmick'.

Awards and honors[edit]

Original Broadway production[edit]

Year	Award Ceremony	Category	Nominee	Result
1960	Tony Award	Best Musical		Nominated
		Best Performance by a Leading Actress in a Musical	Ethel Merman	Nominated
		Best Performance by a Featured Actor in a Musical	Jack Klugman	Nominated
		Best Performance by a Featured Actress in a Musical	Sandra Church	Nominated
		Best Direction of a Musical	Jerome Robbins	Nominated
		Best Conductor and Musical Director	Milton Rosenstock	Nominated
		Best Scenic Design	Jo Mielziner	Nominated
		Best Costume Design	Raoul Pène Du Bois	Nominated
	Grammy Award	Best Musical Theater Album	Ethel Merman	Won

1974 Broadway revival[edit]

Year	Award Ceremony	Category	Nominee	Result
1975	Tony Award	Best Performance by a Leading Actress in a Musical	Angela Lansbury	Won
		Best Performance by a Featured Actress in a Musical	Zan Charisse	Nominated
		Best Direction of a Musical	Arthur Laurents	Nominated
	Drama Desk Award	Outstanding Actress in a Musical	Angela Lansbury	Won
		Outstanding Featured Actress in a Musical	Bonnie Langford	Nominated
		Outstanding Director of a Musical	Arthur Laurents	Won

1989 Broadway revival[edit]

Year	Award Ceremony	Category	Nominee	Result
1990	Tony Award	Best Revival		Won
		Best Performance by a Leading Actress in a Musical	Tyne Daly	Won
		Best Performance by a Featured Actor in a Musical	Jonathan Hadary	Nominated
		Best Performance by a Featured Actress in a Musical	Crista Moore	Nominated
	Drama Desk Award	Outstanding Revival of a Musical		Won
		Outstanding Actress in a Musical	Tyne Daly	Won
		Outstanding Featured Actor in a Musical	Jonathan Hadary	Nominated
		Outstanding Featured Actress in a Musical	Crista Moore	Nominated
1991	Grammy Award	Best Musical Theater Album		Nominated

2003 Broadway revival[edit]

Year	Award Ceremony	Category	Nominee	Result
2003	Tony Award	Best Revival of a Musical		Nominated
		Best Performance by a Leading Actress in a Musical	Bernadette Peters	Nominated
		Best Performance by a Featured Actor in a Musical	John Dossett	Nominated
		Best Performance by a Featured Actress in a Musical	Tammy Blanchard	Nominated
	Drama Desk Award	Outstanding Revival of a Musical		Nominated
		Outstanding Actress in a Musical	Bernadette Peters	Nominated
		Outstanding Featured Actor in a Musical	John Dossett	Nominated
	Theatre World Award		Tammy Blanchard	Won

2008 Broadway revival[edit]

Year	Award Ceremony	Category	Nominee	Result
2008	Tony Award	Best Revival of a Musical		Nominated
		Best Performance by a Leading Actress in a Musical	Patti LuPone	Won
		Best Performance by a Featured Actor in a Musical	Boyd Gaines	Won
		Best Performance by a Featured Actress in a Musical	Laura Benanti	Won
		Best Direction of a Musical	Arthur Laurents	Nominated
		Best Costume Design	Martin Pakledinaz	Nominated
		Best Sound Design	Dan Moses Schreier	Nominated
	Drama Desk Award	Outstanding Revival of a Musical		Nominated
		Outstanding Actress in a Musical	Patti LuPone	Won
		Outstanding Featured Actor in a Musical	Boyd Gaines	Won
		Outstanding Featured Actress in a Musical	Laura Benanti	Won
	Outer Critics Circle Award	Outstanding Revival of a Musical		Nominated
		Outstanding Director of a Musical	Arthur Laurents	Nominated
		Outstanding Actor in a Musical	Boyd Gaines	Nominated
		Outstanding Actress in a Musical	Patti LuPone	Won
		Outstanding Featured Actor in a Musical	Tony Yazbeck	Nominated
		Outstanding Featured Actress in a Musical	Laura Benanti	Won
2008	Grammy Award	Best Musical Theater Album		Nominated

2015 London revival[edit]

Year	Award Ceremony	Category	Nominee	Result
2016	Laurence Olivier Awards	Best Revival of a Musical		Won
		Best Actress in a Musical	Imelda Staunton	Won
		Best Supporting Actress in a Musical	Lara Pulver	Won
		Best Supporting Actor in a Musical	Peter Davison	Nominated
		Best Supporting Actor in a Musical	Dan Burton	Nominated
		Best Director	Jonathan Kent	Nominated
		Best Lighting Design	Mark Henderson	Won
		Best Theatre Choreographer	Stephen Mear	Nominated
	Theatre Awards UK	Best Musical Production		Won
		Best Performance in a Musical	Imelda Staunton	Won
	Evening Standard Award	Best Musical Performance	Imelda Staunton	Won
	Whatsonstage.com Awards	Best Musical Revival		Won
		Best Actress in a Musical	Imelda Staunton	Won
		Best Supporting Actress in a Musical	Lara Pulver	Won
		Best Supporting Actor in a Musical	Peter Davison	Nominated
		Best Director	Jonathan Kent	Won
		Best Choreographer	Stephen Mear	Nominated
		Best Set Designer	Anthony Ward	Nominated
		Best Lighting Designer	Mark Henderson	Nominated

References[edit]

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2. ^ ^abcRich, Frank (November 17, 1989 The Hot Seat: Theater Criticism for The New York Times, 1980–1993. Random House. 1998. ISBN0-679-45300-8.
3. ^Rich, Frank (November 17, 1989) 'Review/Theater; 'Gypsy' Is Back on Broadway With a Vengeance', The New York Times
4. ^ ^abBarnes, Clive (September 24, 1974) ''Gypsy' Bounces Back With Zest and Lilt'The New York Times
5. ^Millstein, Gilbert (May 17, 1959) 'Culled From a Stripper's Past', The New York Times, p. X1
6. ^ ^abcZadan, Craig (1986) Sondheim & Co., Second Edition, pp.37-39, pp.50-51, ISBN0-06-015649-X
7. ^'Gypsy at sondheimguide.com'. Retrieved 22 August 2014.
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13. ^Kerr, Walter. 'Two Musicals We Need Have Checked In'. The New York Times. December 17, 1989. p. H7
14. ^Lunden, Jeff. 'Stage Mother from Hell: Needy, Greedy Mama Rose'. NPR.org. April 13, 2008.
15. ^ ^abRich, Frank. 'Theatre – 'Gypsy': Then, Now and Always'. The New York Times. May 4, 2003. p.AR1 (Retrieved May 6, 2008)
16. ^'From the Archives: Bernadette Peters Joined the Sisterhood of Roses With the 2003 Gypsy Revival'Playbill, May 23, 2019
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21. ^Smith, Peter. 'Daly Brings Complexity To Role In 'Gypsy' ', Palm Beach Post (Florida). p.9D. May 13, 1989
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30. ^Brantley, Ben. 'New Momma Takes Charge'. The New York Times. May 2, 2003.
31. ^Gans, Andrew. 'Momma's Goin' Strong: Gypsy Breaks All-Time Shubert Box-Office Record'Archived 2012-10-21 at the Wayback Machine. Playbill.com. June 23, 2003.
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33. ^ ^ab'Final Curtain to Fall on 'Gypsy' May 30'. The New York Times. April 22, 2004.
34. ^Gans, Andrew. Patti's Turn: LuPone Is Mama Rose in Ravinia's Gypsy Beginning Aug. 11'Archived 2012-10-19 at the Wayback Machine. Playbill.com. August 11, 2006.
35. ^Isherwood, Charles. 'Theater Review. LuPone in ‘Gypsy’: 'Light the Lights, Boys! Mama Rose Hears a Symphony.'New York Times, August 15, 2006
36. ^Laurents, Arthur. 'Gypsy'Mainly on Directing, Random House Digital, Inc., 2009, ISBN0-307-27088-2, p. 45
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38. ^Brantley, Ben. 'Curtain Up! It’s Patti’s Turn'. New York Times. March 28, 2008.
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42. ^Green, Jesse. 'Let Her Entertain You. Please!'. The New York Times. July 8, 2007.
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44. ^correspondent, Tim Masters Entertainment. 'Olivier Awards: Record eighth win for Judi Dench'. BBC News. Retrieved 2016-04-03.
45. ^Youngs, Ian. 'Imelda Staunton's 'Gypsy' scoops UK Theatre Awards bbc.co.uk, 18 October 2015
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58. ^Hodges, Ann. 'Cast shines in latest version of musical hit 'Gypsy'. The Houston Chronicle. December 12, 1993. Section: Television, p. 3. 'It's surely the first time in a long time that the actors singing the songs are actually singing them, instead of just moving their lips to a pre-recording.'
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External links[edit]

Wikimedia Commons has media related to Gypsy (musical).

• Gypsy: A Musical Fable at the Internet Broadway Database
• Gypsy (1993 TV adaptation starring Bette Midler) on IMDb
• Library of Congress essay on original cast album's inclusion into the

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