Review: GYPSY: A MUSICAL FABLE at Argenta Contemporary Theatre

The Argenta Contemporary Theatre in North Little Rock spotlighted Arkansas theatre royalty with its bold and emotionally rich production of Gypsy: A Musical Fable, which captivated audiences from April 9–19. This golden-age musical, considered one of Broadway’s most enduring masterpieces, was brought to life with striking precision and artistry that riveled any Broadway show. With a book by Arthur Laurents, score by Jule Styne, and lyrics by a young Stephen Sondheim, Gypsy demands both powerhouse performances and thoughtful direction—and Argenta delivered on all fronts. 

Gypsy: A Musical Fable tells the story of Rose (Kathryn Pryor), an ambitious stage mother determined to make her daughter June (Baby June-Kennedy Ruhter/Older June-Lexi Brooks) a vaudeville star at any cost. As Rose pushes her children into the limelight, her focus shifts from June to her more reluctant daughter, Louise (Young Louise-Claire Causey/Older Louise-Annslee Clay), who eventually transforms into the famous burlesque performer Gypsy Rose Lee. The musical explores themes of ambition, family, sacrifice, and self-discovery and is set against the backdrop of the changing entertainment world of the early 20th century.  

Under the direction of Justin Pike, the production struck a compelling balance between grit and glamour, while Christian Waldron’s musical direction ensured that each note rang out with clarity and passion. Annslee Rose Clay’s choreography infused the show with vintage flair and kinetic energy, transporting the audience straight into the heart of vaudeville and early burlesque. From the overture to the final bow, this was a production that honored its legacy while asserting its own distinctive voice in the Arkansas theatre landscape. 

Mama Rose, played by the incomparable Kathryn Pryor commanded the stage with a magnetic presence and unrelenting energy, fully embodying the complex contradictions that make Rose one of the most challenging—and rewarding—roles in musical theatre. Her performance was a masterclass in control and vulnerability, barreling through scenes with ambition-fueled fervor, only to reveal cracks of desperation and longing just beneath the surface. In numbers like “Some People” and the electrifying “Everything’s Coming Up Roses,” Pryor’s voice soared with conviction, filling the theatre with both power and pathos. Yet it was in the quieter, more introspective moments—particularly her haunting rendition of “Rose’s Turn”—that she truly broke through, laying bare the emotional cost of a lifetime spent chasing applause. Pryor’s Rose wasn’t just a stage mother; she was a force of nature, a dreamer undone by her own dreams, and a towering presence who lingered long after the final curtain. 

Opposite Kathryn Pryor’s powerhouse Rose, Annslee Rose Clay brought remarkable depth and sensitivity to the role of Louise. Clay’s performance was a slow burn in the best possible way—beginning with the soft, unsure presence of a young girl overshadowed by her mother’s dreams and sister’s spotlight, and ending in the radiant emergence of Gypsy Rose Lee, poised and fully self-possessed. Her transformation was executed with grace and honesty, never rushed or forced. Clay allowed the audience to feel every beat of Louise’s awakening culminating in a breathtakingly confident “Let Me Entertain You” that brought down the house. As a choreographer for the production, Clay also doubled her impact, blending character work and movement with impressive subtlety. 

As Herbie, Duane Jackson offered a warm, grounding presence amidst the chaos of Rose’s relentless ambition. Jackson’s portrayal struck the perfect balance between gentle patience and quiet heartbreak, creating a Herbie that was instantly likable and deeply sympathetic. His chemistry with Pryor gave their scenes weight and authenticity, particularly in “Small World” and the poignant “You’ll Never Get Away From Me.” When Herbie finally reaches his breaking point, Jackson delivered the moment with devastating clarity, making the audience feel the cost of Rose’s tunnel vision. 

As the ever-sparkling June, Lexi Brooks lit up the stage with a dazzling blend of charisma, precision, and biting wit. Tasked with portraying the “star” child molded by Rose’s impossible expectations, Brooks leaned into the role’s performative layers with skillful finesse. In “If Momma Was Married,” her chemistry with Clay’s Louise was both playful and poignant, capturing the shared frustrations of two sisters trapped in a life not of their own choosing. Her stage presence, honed and theatrical in all the right ways, made her eventual breakaway from the act not just believable, but triumphant. 

One of the evening’s most show-stopping moments came courtesy of the trio in “You Gotta Get a Gimmick”—a burlesque masterclass delivered with comic brilliance and unapologetic flair. Kristen Phantazia Smith, Patti Airoldi, and Ashleigh Mathews, portraying Tessie Tura, Mazeppa, and Electra respectively, fully embraced the outrageous charm of their roles, each adding her own unforgettable sparkle to the number. With razor-sharp comedic timing and a fearless sense of fun, the trio had the audience roaring with laughter and cheering with delight. Smith’s Tessie Tura exuded tipsy elegance with cheeky confidence, Airoldi’s Mazeppa brought bold brass bravado—complete with her iconic trumpet flourish—and Mathews’ Electra lit up the stage (literally and figuratively) with her glowing costume and perfectly deadpan delivery. Their performance was more than comic relief; it was a joyous celebration of individuality and a cheeky reminder of Gypsy’s deeper truth: in show business, authenticity—no matter how outrageous—is what truly shines. 

The production’s emotional impact and vintage flair were elevated by the outstanding work of the orchestra, under the expert direction of Christian Waldron. From the brassy exuberance of the overture to the haunting undertones of “Rose’s Turn,” the musicians captured the full sweep of Jule Styne’s iconic score with precision and passion. The ensemble performed with a sensitivity that never overpowered the actors but consistently enhanced the storytelling. Their musicianship added a rich, professional polish that made the entire production feel like a love letter to classic Broadway. 

Band members were Kinley Beard, Cadence Garbatt, Alex Hughes, Jamie Joheim, Ethan Linder, Joel Ratliff, Max Reyes, Daniel Schoultz, Evan Smith, and Christian Waldron. 

Argenta Contemporary Theatre’s Gypsy wasn’t just a revival of a beloved classic—it was a reaffirmation of the enduring power of live theatre and the extraordinary talent thriving in Central Arkansas, and we loved it!

Up next is ON GOLDEN POND. Tickets are selling quickly, so head over to their website at argentacontemporarytheatre.org before they are gone. 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.6% of votes

2. THE WIZARD OF OZ (Arts One Presents)

12.3% of votes

3. SHREK (The Pocket Theater)

10% of votes

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