When Roberta MacDonald takes "Rose's Turn" all through the theater, it's ironic. Why? Because the whole show has been her turn. Sure, Wendee Bresee blossoms out nicely as Gypsy Rose Lee, after her stalwart childhood as the untalented Louise, nicely understated by Brianna Houck. And after Taylor Vaughan passes for talented Baby June, Sarah Jackson brings spirit to grown up June Havoc's revolt against her mother. You couldn't wish for a nicer agent for them or piner after Rose than Larry Barrett's Herbie. But whenever MacDonald is on stage, it's no one else's. Mostly because, even if her voice strains at times, she acts up a storm. You don't believe for a moment that every cheap trick she's pulled, every bit of cajoling, all her stage mother tactics have been for her girls. Direction that has her talking and singing all along to you as much as to the others reinforces Rose as the color all the drama and melody is painted in. You have to watch her, and you don't mind at all.
Sets, particularly the grayish walls that enclose numerous dressing and hotel rooms, reflect the unimaginative act for which Rose conjures up silly variations. Choreography mimics the fare of both dance school recitals and patriotic celebrations. Among the more garish costumes, coats obviously made from stolen hotel blankets of plaid, reflect vaudeville chic. Music also comes out loud. And louder. And almost too loud in the vignette "You Gotta Have a Gimmick,"more vulgar than funny here. "Together, Wherever We Go," however, departs from the predominant flavors of both song and dance. This Gypsy is like the Chinese food eaten throughout the show. If you like it, you'll take it anytime. If not, take heart, because it doesn't, as they say, stay with you.
