Gypsy [2003 Broadway Revival Cast]

1	Overture / Marvin Laird 4:44
2	May We Entertain You / Heather Tepe 0:51
3	Some People / William Parry 3:09
4	Small World / MacIntyre Dixon 3:23
5	Baby June and Her Newsboys / Eamon Foley 1:58
6	Mr. Goldstone / John Dossett 2:37
7	Little Lamb / Tammy Blanchard 2:20
8	You'll Never Get Away from Me / John Dossett 2:39
9	Dainty June and Her Farmboys / Matt Bauer 2:03
10	Broadway / Tim Federle 1:38
11	If Momma Was Married / Kate Reinders 2:59
12	All I Need Is the Girl / David Burtka 4:21
13	Everything's Coming Up Roses 3:37
14	Entr'acte / Marvin Laird 2:18
15	Madame Rose's Toreadorables / Julie Martell 1:12
16	Together, Wherever We Go / Tammy Blanchard 3:55
17	You Gotta Get a Gimmick / Heather Lee 4:50
18	Small World (Reprise) / Brooks Ashmanskas 1:15
19	Incidental Music / Tammy Blanchard 0:46
20	Gypsy Strip (Let Me Entertain You) / Tammy Blanchard 6:35
21	Rose's Turn 5:03
22	Curtain / Tammy Blanchard 1:32

Barnes & Noble

All that the Broadway cast album of the 2003 production of the classic musical Gypsy has going for it is a world-class score by composer Arthur Laurents and lyricist Stephen Sondheim, and a compelling vocal performance by Bernadette Peters. In the role of Mama Rose, the “mother” of all stage mothers, Peters brings all the intensity, flair, and dramatic style needed to put across this demanding role. Hear her on “Everything’s Coming Up Roses” and “Rose’s Turn”: Peters steps up to the plate, gathers all her considerable strengths as a singer and an actress, and comes through. Gypsy isn’t a one-woman show, of course, and John Dossett in particular stands out, in the role of Herbie the agent. Still, Peters remains the heart of both the show and the cast recording, giving a memorably larger-than-life performance that expertly balances grit and pathos. William Pearl

All Music Guide

Bernadette Peters is rare among performers of her generation in that she has largely resisted opportunities in concertizing, recording, and appearing in films and on television to focus on acting and singing on the Broadway stage for a grueling eight shows a week. As a result, she is the biggest star in the American musical theater in her generation. But Broadway composers and librettists are not writing new shows as star vehicles for mature female performers anymore, as they were in Ethel Merman's day. As a result, Peters has turned to revivals to keep her name in lights on the Great White Way, sometimes turning to shows not entirely suited to her talents. Certainly, that was the case in her portrayal of Annie Oakley in Annie Get Your Gun, and initially, one might think of her as similarly miscast in another Merman vehicle, Gypsy. But Peters got her professional start in a bit part in a touring production of Gypsy, and she clearly knows the show backwards and forwards. The part of the monstrous Mama Rose may seem a challenge for an actress known for her vulnerability and coy sexuality, but Peters is also a stage veteran who knew what she was getting into. And she has worked hard on this production, work that shows in the cast recording. From Mama Rose's first appearance, calling, "Sing out, Louise!," Peters inhabits the part. She gets the ruthless determination in "Some People," the deliberate flirtatiousness of "You'll Never Get Away From Me," and the irrational optimism of "Everything's Coming Up Roses," not to mention nailing the tour de force climax "Rose's Turn." The supporting cast is fine: John Dossett's Herbie can actually carry a tune, which is a welcome change from previous productions, and Tammy Blanchard's Louise matures convincingly from a mousy daughter to the commanding Gypsy Rose Lee. But this album is all about Peters' interpretation, which will not make theater fans forget Merman, or even Angela Lansbury in the triumphant 1970s revival, but which stands validly on its own. William Ruhlmann