Gypsy, Lyric Stage Company of Boston, through October 8. Lyricstage.com or 617-585-5678
If ''Fiddler on the Roof"'s Tevye is a kind of atypical Everyman, "Gypsy"'s Mama Rose is likewise an unlikely Everywoman. Curiously, both characters repeatedly make reference to the 'Good Book.' Where the former's fictional religious Jewish milkman tries to determine his daughters' respective futures according to tradition, the latter's real life-based Seattle show business mother means to direct her own daughters' lives with the authority of an impresario. While fairly low-key Tovey is arguably more likeable than pushy Mama Rose, both central characters are roles that premier actors have eagerly tackled over the years. Now premier Hub actress Leigh Barrett is giving a powerhouse Lyric Stage Company of Boston performance in the part worthy of comparison with those of the likes of Angela Lansbury, Tyne Daly and Patti Lupone. At the same time, gifted director-choreographer Rachel Bertone (''The Wild Party," "Barnum," among others) is giving one of America's greatest musicals the kind of inspired revival it deserves.
Bertone's inspiration starts right during the overture. A couple dressed in tuxedo and evening gown take an elegant turn during strains of "You'll Never Get Away from Me." During a part of ''Small World,'' Mama Rose practices a bow and checks out those of her children." Large side fans cleverly close at both sides of the stage during a stretch of the melody for the burlesque scene. Later young performers join Barrett behind a cast member with a car steering wheel as Mama Rose builds her Newsboys ensemble traveling the Vaudeville circuit to New York. Designer Franklin Meissner, Jr. inserts strobe lighting for a smart time lapse effect during which the younger Mama Rose ensemble turns into the seasoned adolescent one. Bertone's personal touches clearly enhance the show's historic collaboration. Loosely based on the 1957 memoir of striptease artist Gypsy Rose Lee-initially Louse, Arthur Laurents' book does vividly depict the Vaudeville circuit and the artistic and financial challenges facing Mama Rose, Louise, June (actual dancer-actress June Havoc) and the performers who join them. Then budding musical giant Stephen Sondheim's lyrics help advance that story as they sharply mesh with Jule Styne's warm and hopeful melodies. Original director Jerome Robbins' expansive choreography rounds out one of Broadway's best collaborations.
The Lyric Stage revival has a strong collaborative feel of its own. Bertone paces her Robbins-inspired choreography as sharply for the Baby June and Her Newsboys number as for the later Dainty June and Her Farmboys one. Both Margot Anderson-Song as Baby June and Kira Troilo as her grownup counterpart display real agility. Brady Miller demonstrates Tulsa's singular dancing talent on ''All I Need Is the Girl" while Kirsten Salpini makes Louise's unrequited crush on him very clear. Salpini is rivetingly vulnerable on the touching solo "Little Lamb," and Troilo and Salpini are fully convincing as siblings-especially on the insightful duet "If Momma Was Married." Barrett and Steven Barkhimer as Mama Rose's group agent and candy salesman boyfriend Herbie do well with the ups and down of their relationship. Barkhimer's understated singing fits Herbie's more reserved responses with highly extroverted Mama Rose. Barrett, Barkhimer and Salpini have the feel of a real family unit on a very winning rendition of "Together, Wherever We Go." Shannon Lee Jones as Tessie Tura smartly combines insightful attitude and good-natured mentoring with novice burlesque performer Louise. Kathy St. George is a hoot as a deep-voiced horn-touting Mazeppa.
Most of all there is Barrett's brilliant performance as Mama Rose. She captures all of Mama's complexity-- her early single-minded determination to develop June's talent, her later contrasting focus on Louise, her conflicted feelings about Herbie and the idea of a fourth marriage and her hindsight about what might have been in her own life. Barrett's carefully captured Mama Rose finds sympathy as a caring mother even as she disturbs as a pushy stage mother. This major talent can belt with the best as she demonstrates on Ma Rose's anthem-like final solo "Rose's Turn."
In her playbill notes, Bertone speaks of audiences rooting for Mama Rose as she faces the truth she's been avoiding. Thanks to Barrett's luminous portrayal and Bertone's masterful efforts, everything is truly coming up roses in Lyric Stage's "Gypsy."