Sadly, Imelda was playing to the last row in the balcony. Director should have done a dress rehearsal to guide her with bringing it in for the intimate camera. She's done tons of films so she knows how to modulate a performance. Most likely the director told her just to ignore the cameras and perform as she normally does. I can bet she hates this archive of her GYPSY for this same reason: she's ridiculously over-the-top.
I have to agree. I was so looking forward to this and came away brutally disappointed. I can see how Staunton might be brilliant in the theater, but her "Rose's Turn" literally reminded me of Linda Blair in The Exorcist. All loud yelling, guttural tics, and facial expressions out of a silent film.
The production itself was pretty bargain basement too. I'd be interested to see her do it live, but as a pro-shot document of a great show with some very flawed film versions, it comes up really short.
Did anyone else think the pacing was insanely fast? Especially in Act 2, the big dramatic moments barely registered. They felt rushed and overplayed.
It'll be nice to have, but yeah...it wasn't very good. Just as over the top as Bette, but in a different way. Whereas Bette's humor always landed in the role, her dramatic moments never did or came across as corny (her "Rose's Turn is one of the worst ones I've seen, lacking any kind of real human feeling). Imelda was the opposite. Everything was so serious and she had very little charm or humor in the role. It's hard to understand why Herbie would stay as long as he did with someone who was so angry all the time.
This production got some of the best reviews I've ever seen, including Brantley's in The New York Times... I guess it's unfortunate that the entire cast wasn't directed to play to the camera instead of the packed Savoy Theatre when the production was captured in October over several performances. This is a definitive record of a performance for the theatre. If you're longing for the subtleties of a film touch, there's always Roz's version. I think this GYPSY, a definitive preservation of the unanimously acclaimed production, needs to be cut some slack...or just don't buy it and keep thinking Barbra's version is just around the corner.
MichelleCraig said: "This production got some of the best reviews I've ever seen, including Brantley's in The New York Times... I guess it's unfortunate that the entire cast wasn't directed to play to the camera instead of the packed Savoy Theatre when the production was captured in October over several performances. This is a definitive record of a performance for the theatre. If you're longing for the subtleties of a film touch, there's always Roz's version. I think this GYPSY, a definitive preservation of the unanimously acclaimed production, needs to be cut some slack...or just don't buy it and keep thinking Barbra's version is just around the corner.
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It's not that her performance was too "big" for film; it had zero joy in it. Gypsy is (or was, when it was written) "a musical fable" not a psychological thriller. Rose can't steamroll everyone for the entire show. Imelda's performance wasn't misdirected for the film by the TV director (was it Lonny Price?). It was misdirected for the stage, too.
icecreambenjamin said: "I really wish we had gotten a professional recording of Patti Lupone's and Laura Benanti's performances. They were, in my opinion, definitive.
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Boyd Gaines too. There's a reason why those 3 snatched 3 out of 4 the musical acting category Tonys for that Gypsy revival.