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There she goes, boys! The Audra McDonald-led revival of Gypsy, directed by George C. Wolfe, abruptly announced that it will be ending its Broadway run sooner than expected. The musical will play its final performance at the Majestic Theatre on Sunday, August 17; tickets had been on sale through October 3. The run itself was open-ended, with no closing date announced. When the show closes, it will have played 28 previews and 269 performances. This marks the sixth Broadway show to announce a closing date since the Tony Awards.
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The fifth revival of the classic musical, with a book by Arthur Laurents and a score by Jule Styne and Stephen Sondheim, opened at the Majestic on December 19, 2024, co-starring Danny Burstein as Herbie and Joy Woods as Louise. As previously announced, Tony winner Montego Glover will play Rose at Sunday matinees for the rest of the run.
McDonald’s turn as Rose (a role played by Broadway legends from Ethel Merman to Bernadette Peters and Patti LuPone) earned her a record-setting 11th Tony Award nomination, making her the most-nominated performer in Tony Awards history. (With six wins, she is also the most awarded performer in Tony Awards history.) The show itself earned five Tony nominations, including Best Revival of a Musical, and one for Burstein, which made him the most-nominated male performer in Tony Award history.
The significance of this Gypsy is not just in its record-setting nominations, however. As staged by Wolfe, this was the first Broadway production of the musical to cast a Black performer as Rose, revealing new layers and depths to a show that was last seen on Broadway in 2008.
“There’s a specific Blackness to McDonald’s magnificently acted Rose as well,” Time Out New York’s Adam Feldman wrote in his review, making it a Critic’s Pick. “This Rose has a defiant pride and an aspiration to higher class, and they come together in McDonald’s unique voice; it’s like a physical manifestation of Rose’s will-to-fanciness. Yes, it’s an unconventional sound for Rose. Every song is a bit of a test, a rite of passaggio between McDonald’s chest voice and her head voice; she hits you with a switch instead of a belt. But she makes the tension work to her advantage. The big notes that land in her upper register are not delicate; they throb with intensity and grandeur. Some people, Rose sings dismissively in her first song, have 'the dream but not the guts.' McDonald’s voice has equal parts of both, and she uses it to deliver an unforgettable star turn.”