Let them entertain you! OOOH! Let them make you smile! Let them do a few tricks— some old and some new tricks— they’re very versatile! Because everything’s coming up Gypsy up at the Opera House in Havre de Grace as Scottfield Theatre Company puts up their production of the iconic Broadway classic. Running just over three hours, you’re in for a lengthy, but well-done, production! Directed & Choreographed by Becky Titelman, with Musical Direction by Sara Scavilla, the saga of a mother who pushed her kids to the stardom she never had is in full swing on the Opera House stage through the 24^th of August and it’s a doozy!

Let’s get the complaints out of the way because it’s a pretty spectacular production all things considered but there are a few hiccups that keep it from being truly extraordinary. The show is long; there’s no getting around that. It’s just the way the show was written; it’s a product of it’s time. And that’s not the issue because the scene work and the musical numbers keep the audiences’ attention just fine. When actors are acting and interacting or singing and dancing, the show’s pacing is flawless. It’s the scene changes and the delay thereof that throws some wrenches into the cogs of this otherwise exceptionally well-paced show. Often times the curtain closes and you hear the canned tracks on loop while scenery is being changed behind the curtain but nothing is happening in front of the curtain…only to have a scene start two or so minutes later…in front of the curtain. Start those scenes immediately as the curtain is closing (add more people— every cast member not in the in-front-of-curtain-scene if you have to— to the scenic change crew) and have those changes complete before that front-of-curtain-scene ends. The curtain is there, it’s being used, just not to its fullest potential would could take this show from excellent to extraordinary.

The other issue and this one is more minor is some of the songs fall in and out of accessible ranges for a few of the featured performers. It’s most notable during “If Momma Were Married” and it isn’t necessarily on the burden of the actors singing them but the lack of skilled know-how from the show’s Musical Director to transpose accordingly (yes with canned tracks this is an exceedingly difficult task but not impossible.) And although this becomes a hotly debated issue (particularly at the community level) having tattoos that are blatantly visible in a period piece just detracts from the otherwise carefully crafted aesthetic of the show. The death of Vaudeville may not have been brought about by being able to see modern tattoos on the arms and legs and of the girls at the burlesque house in Wichita but it does kill the reality of the production’s time stamp, especially when other actresses take time to cover theirs.

 Those issues aside, the show was practically perfect; appropriate casting, exceptional acting skills on display, and some really cool lighting effects in use. Lighting Designer Patrick Yarrington actually razzle-dazzles the hell out of the audience with one of the oldest tricks in the book when it comes to ‘time-shift-lighting.’ And although this falls into the category of ‘old trick’ his strobe-weave effect during “Military Routine” is so flawlessly executed that the whole audience starts raving and applauding as its happening. Yarrington’s light work is well plotted throughout the whole of the performance, particularly what he uses during “Rose’s Turn” but that effect simply takes the cake. Hannah Thomas, the show’s sound designer, also deserves praise because the microphones and music were in balance and without notable issue.

The show’s aesthetic is ripe with 1920’s and 1930’s flair. Costume Designers Becky Titelman and Liz Marion (renting from Toby’s Dinner Theatre and CCBC Essex) pull that Vaudeville look together with aplomb, particularly when it comes to the outfits featured on the Newsboys and later the ‘named boys.’ Even the cute ‘faded twinkles’ of a Vaudeville troupe shine through in those ‘Toreadorable’ costumes; they look intentionally shabby and mismatched while still trying to look as if they came from the same routine, which lends an air of authenticity to the hard times that these gals have fallen on as they desperately attempt to make one last go at Vaudeville. Rose’s outfits speak to the time and Louise’s do too; her glam-glow-up looks take the cake when it comes to sophistication and elegance.

Wearing all the hats for the show, Titelman also serves as the Set Designer, Properties Master and Choreographer, in addition to directing, and costuming. The show’s choreography operates in the same vein as the Vaudeville aesthetic and it’s cleanly executed, particularly during that flash transition of the “Military Routine” you get a lot of trenches rolling in that number and it’s a great spectacle. Titelman recycles choreographic moves (a nod to the ridiculousness that Mama Rose puts on her performing troupe, same routine, same songs, different outfits and different bodies in said sequence) and it works to create a throughline of consistency. Keep your eyes on Tulsa, Yonkers, L.A., and Angie; they’ve got swift and fleet-footed dance moves that you get to see during “Farm Sequence” and the solo dance routine, “All I Need it the Girl.” There’s also some saucy and sassy choreography that works itself out for the three burlesque ladies during “You Gotta Get a Gimmick” that’s pretty fun to watch. The set, which rolls on and off and has background buildings for texture, is quite the boon for the production and once it’s in place really amplifies the theatrical experience. It’s simple yet detailed and despite the hiccups with slow changes of getting set pieces in and out of place, it does make a notable difference for the performance.

The Toreadorables (Layla Davidoff, Selena Harricharan, Mia Munro, Ava Roberts, Meredith Patel,) don’t really appear until midway through the second act but the way they titter and giggle together gives you a keen notion that they’re a bonded bunch. Keep your eye out for Patel, who plays the shrill-squeaking Agnes; her vocal affectation really makes that character pop. Other noteworthy ensemble cameos include Wayne Ivusich as ‘Pop’, Rose’s father, who is as downtrodden and grumbly as Rose is brassy and determined. Ivusich pops up as ‘Cigar’ in the second act, carrying the attitude of a disgruntled backstage burlesque house worker sublimely. And while both Uncle Jocko and Kringelein are momentary blips on Rose’s radar of life, Chris Barsam services both of these roles well. You get to see a plethora of ‘charming children’ on the Uncle Jocko show (Magnolia Berglowe-Lynch, Brady Fiol, Sullivan Rhoads) to name a few and they double up as Baby June’s Newsboys. They dance during “Baby June and Her Newsboys” and it’s just adorable.

Playing Baby June, Alexis Hoagland is packed full of enthusiasm and a bunch of high-octane moves and splits, particularly when it come to smiling, baton twirling, and generally just looking too precious for words. “Let Me Entertain You!” is such a delightful number to hear Hoagland perform. As Baby Louise, Olivia Huth has purposefully subdued energy. Rose is constantly fussing at her to ‘sing out, Louise!’ and when you see Huth standing like a terrified performer with a dreadful case of stage fright it’s really impressive how she forcibly turns the moment around once that command is barked. Both Huth and Hoagland have lots of talent to offer these roles, particularly when they get into some of those dance moves in the various ‘Vaudeville Circuit’ routines.

Everyone grows up (nobody tell Rose!) and when the Newsboys grow up they grow into fine, albeit snarky-mouthed, young men. Yonkers (Jude Mahoney), L.A. (Timmy Phelan), Angie (Noah Testerman), and Tulsa (Aaron Knight.) That first scene with them clumped and crowded together in that mini-apartment room showcases their various personalities, with Mahoney’s Yonkers rising above them all as the mouthiest and the most hilarious. His dance moves are on-point and although it’s Tulsa who gets the dance-break and solo routine, amongst the quartet there’s a sense that Yonkers is the leader. Knight, as Tulsa, does a fine job in his “All I Need is the Girl” routine, singing with that charming air, dancing with some effortless grace. And the way this number is orchestrated with Louise desperately trying to move in the background is a beautiful way to showcase dreams verses bleak reality.

The fellas may have the footwork but it’s the gals that have the gimmick. In the most entertaining and comedic number of the show, “You Gotta Get a Gimmick”, you get Tessie Tura (Tia Silver), Electra (Meg Smith), and Mazeppa (Courtney Katzenberger) strutting their stuff loudly and proudly. Smith might have the best costume, with her light-up Christmas tree…accessories…but Katzenberger is the one who’s blasting it vocally for all to see and hear. The trio of gals makes for an excellent number and Silver should be praised for her vocal affectation choices with this role. The three of these women make that number look and sound like a piece of cake, with Katzenberger taking the lead when it comes to unapologetic intensity and showmanship.

Squealing and pouting, Meagan Jenkins’ June might be the most vocally dissatisfied character in the production. Jenkins’ June is miserable. She wants a life that isn’t dictated by her mother (and can you blame her?) What’s truly remarkable about her performance is her animated facial expressions, particularly during the “Farm Sequence” as different ones try to hand her the batons and do so incorrectly; her eyes and whole face just light up like a furious rocket blazing on the fourth of July; it’s that level of detail that gets the audience invested in her plight. When she sings with Louise (Alyssa Bell) for “If Momma Were Married” you get the sense of their sororal bond shining through.

Bell, is arguably the most transformative character in the production, as Louise. Meak, meager, mild-mannered and mouthed, she starts off just trying to have her moment alone in the bedroom with her birthday present whilst her mother conducts chaos aplenty in the room next door. When her voice alights on “Little Lamb” your heart just breaks for her. But Bell doesn’t stay buried in the background for long; while the world evolves and Vaudeville dies, and her character clings to the hope that life will settle down to normal, you see Bell growing the character little by little into something extraordinary. The working relationship she has with Herbie comes from a genuine place of caring and her initial interactions with Momma Rose are rooted in a similar place. That nervous moment when she steps out onto the burlesque stage as a stripper is sensational as that whole sequence, “Gypsy Strip Routine” grows her character in confidence little by little. By the time Bell reaches the finale, she’s no longer the shy, awkward girl in the background but has this effortless confidence about her movements, her vocality, and her overall stage presence. Plus when she uses the actual stage curtain, incorporating it into her strip routine’ it becomes one of the cheekiest moments in the show.

Herbie (Bobby Mahoney) is sincerity incarnate; genuine and authentic, gentle and a little silly, it’s the perfect combination of sappy and realistic. Mahoney’s voice is glorious, perfectly well-suited for “Small World”, a duet he sings with Rose. And the emotions that Mahoney infuses into both that duet and “You’ll Never Get Away From Me” feel genuine. The chemistry that burbles between him and Rose has this earnest vibe about it; they just click and connect and it’s adorable, making the way the play turns out that much more heartbreaking. When Mahoney lends his voice to the trio performance of “Together Wherever We Go” it’s just too cute for words. That trio-number, featuring Mahoney, Bell’s Louise and Liz Marion as Rose, is one of the most uplifting and hopeful routines in the show. Mahoney finds balance in his character, really creating a dynamism for Herbie. And when he finally hits his breaking point, it’s a little frightening because he’s allowed the character to bubble along as affable, easy, and mild-mannered.

Everything is coming up Marion. Liz Marion, tackling the iconic bucket-list role of Momma Rose, is doing her own thing with the part and it’s fierce. You cannot tackle a role like Rose and do anything but your own, unique thing (too many comparisons of theatrical greats which can set one up for failure otherwise) and Marion is doing it in spades. Her energy is indefatigable. She may not be dropping hot splits like the kids or doing flying leaps in various dance routines but she’s bringing stage presence with tenacity. The whole energy of the scene just shifts when she storms in. And she finds the balance of comedy mingled in with the character’s overbearing nature. It’s the epitome of equilibrium between being a human who is a bit too much and playing a caricature who you know gets the laughs; Marion has that exceptionally well in hand. And her voice is the cat’s meow for those big, bold, belting numbers. Her patter during “Mr. Goldstone” (not to mention her hilarious facial expressions) is exacting, her sincerity in the two Herbie-sung duets is gentle, like vocal honey pouring into the song, and her comedic timing— especially when she’s talking about her ‘dreams’ is divine. Of course everyone comes in, desperate to hear that eleven-o’clock number (the song by which all Roses are judged with) and Marion nails it. “Rose’s Turn” is this frantic explosion of her life, spilling out in a tumultuous blast of chaos, catharsis, and raw vocal rage; it’s astonishing. Liz Marion would give any Momma Rose a run for her money and she’s carrying the show sublimely in this role.

Everything’s coming up Scottfield with their practically perfect production of Gypsy. So what are you waiting for? Let them entertain you!

Running Time: Approximately 3 hours and 5 minutes with one intermission

Gypsy plays through August 24^th 2025 with Scottfield Theatre Company currently in residence at the Cultural Center at The Havre de Grace Opera House— 121 N. Union Street in historic downtown Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.