Review: GYPSY at the Philharmonie de Paris

A historic happening from April 16 to 19: the grandiose Pierre Boulez Theater at the Philharmonie de Paris was transformed into a vibrant portal to 1920s and 1930s America, hosting the French premiere of Gypsy, une fable musicale (songs in English with French dialogue by Agathe Mélinand). This Broadway masterpiece, widely regarded as one of the crowning achievements of musical theater, was brought once again to new, distinctive life by a stellar cast and crew under the visionary direction of Laurent Pelly, whose expertise in productions such as La Fille du Régiment at the Opéra de Paris has earned him international acclaim. The event marked a historic moment for French musical theater, drawing both seasoned Broadway aficionados and eager newcomers into its spellbinding world. Featuring Jule Styne’s iconic jazzy score, Stephen Sondheim’s characteristically incisive lyrics, and Arthur Laurents’s sharp, poignant libretto, this semi-staged production was a dazzling confluence of musical brilliance and narrative depth. 

Too bad that the cutting of some of the dialogues to reduce the running time to two and a half hours resulted in the loss of several classic punchlines such as when Herbie replies to Rose (after she is asked why she needs him and answers, “a million things") with “just one would be better!”  It might have been preferable to cut the slightly overlong kids’ audition, which has always slowed down the beginning of Act 1. 

Highly praised opera singer, having already ventured into the Sondheim repertoire in Passion at Théâtre du Chatelet in 2016, Natalie Dessay delivered a stunning performance as Rose, the indomitable stage mother whose ambition alternates between nurturing devotion and relentless obsession. With classically trained precision and virtuosity, Dessay brought a unique and breathtaking emotional intensity to the iconic numbers of “Everything’s Coming Up Roses” and “Rose’s Turn,” transforming Rose’s fiery determination and poignant vulnerabilities into a deeply human and multidimensional portrayal that redefined her legendary career.  Just like for Audra McDonald on Broadway, questions arise as to whether the score, written specially for a belter such as Ethel Merman or Patty LuPone, could be done justice by a soprano, but her excellent acting overcame any concerns. 

Opposite Dessay, Neïma Naouri (A Funny Thing Happened on the Way to the Forum, The Lido) shined as Louise, Rose’s overlooked and shy daughter who blossoms into the iconic Gypsy Rose Lee, with Naouri’s crystalline vocals and layered acting tracing Louise’s journey from tentative insecurity to radiant stardom, epitomized in her showstopping rendition of the soaring “Let Me Entertain You,” followed by an electric final scene rendered even more genuine by the fact that Rose and Louise were for the first time portrayed by a real life mother-and-daughter duo in Dessay and Naouri. 

Medya Zana (The Sound of Music, Théâtre du Châtelet) brings a spirited charm to June, Rose’s favored daughter (strangely absent in Act 2), her lithe vocals and dance infusing early vaudeville scenes with infectious energy, while Daniel Njo Lobé (The Lion King, Théâtre Mogador) anchored the production with his warm, nuanced portrayal of Herbie, Rose’s steadfast yet conflicted manager, using his velvety baritone and subtle acting to bring grounded humanity to the story’s emotional core.  

The ensemble, including the vibrant young performers from the Maîtrise Populaire de l’Opéra Comique (a multidisciplinary performing arts training program for aspiring young performance artists), brought infectious energy to the vaudeville and burlesque worlds, their harmonies and choreography flawless, while the infamous stripteasing sequence stops the show as usual with an indomitable trio taking over: Barbara Peroneille as Mazeppa, Marie Glorieux as Electra, and Kate Combault as Tessie Tura. Their riotous performance of “You Gotta Get a Gimmick,” is a masterclass in comedic timing and charismatic swagger, with Peroneille’s trumpet-wielding bravado, Glorieux’s provocative shimmy, and Combault’s sassy finesse earning roars of applause (the three, along with the excellent Juliette Sarre, also double as the glamourous Hollywood blonds). Another showstopping moment was “All I Need is a Girl,” spiritedly delivered Antoine Le Provost, possessing the right kind of boyish charm and singing-and-dancing abilities for the part of Tulsa, a catalyst for both the young Louise, who fancies him, and June, whom he facies and eventually marries.

Director Laurent Pelly, doubling as set and costume designer, embraced a minimalist yet inventive approach that enhanced the story’s focus. The concert-hall-inspired staging, which placed the Orchestre de Chambre de Paris at the heart of the action, allowed the music to shine in a way that felt integral to the storytelling. Pelly’s attention to detail extended to the evocative black costumes, which, accented only by Rose’s striking red ensemble and June’s bright highlights, created visual contrasts that underscored the narrative’s emotional highs and lows. Meanwhile, his use of silent film-style cutouts conjured a nostalgic theatrical world, steeped in the aesthetics of its time. 

Under the baton of Gareth Valentine (Cats, West End), the orchestra delivered a masterful interpretation of Styne’s vibrant score. Valentine, a celebrated Sondheim collaborator, conducted the 42-piece band with infectious enthusiasm and drew out every nuance of the jazz-inflected music, transforming the orchestra into a character of its own that weaved seamlessly with the singers to evoke the emotional spectrum of the era. Choreographer Lionel Hoche (Cendrillon, Opéra de Paris) did a good job, incorporating a range of movements from lively vaudeville sequences to bold burlesque routines. 

The audience experienced a rollercoaster of laughter and tears, immersing themselves in a profoundly crafted spectacle that celebrated theatrical excellence. As the final applause thundered through the hall like a jubilant chorus, it was clear that this milestone masterpiece, so far unknown to the French public, had further cemented the ever-growing love affair with Stephen Sondheim here, also illustrated by an equally brilliant touring production of Company. With upcoming performances in Luxembourg (April 30 and May 2 and 3 at the Grand Théâtre du Luxembourg), Caen, and Reims (dates unknown), this triumphant version of Gypsy is poised to continue enchanting audiences far beyond Paris. 

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