Laurents (left) with long-time partner Tom Hatcher in 1956.

I did a quick search, which wasn’t hard as many of my friends were twittering and facebooking links to his obits. After all, this was the man who wrote the books to two of the best musicals in the history of musical theatre: West Side Story and Gypsy — the latter of which is my absolute most favorite musical ever.

Wow. Death at 93 seems like a life long-lived, but this famously cantankerous guy seemed indestructible. At 89 years old in 2007, he made a major comeback directing Patti LuPone in a landmark production of Gypsy at City Center — a production that eventually led to the 2008 Broadway revival which earned all three of its leading players Tony Awards (LuPone, Laura Benanti as Louise/Gypsy and Boyd Gaines as Herbie).

And that production almost didn’t happen because of a long rift between LuPone and Laurents, which I won’t go into here — most of you already know the tale anyway.

But what some might not know is the main reason Laurents decided to swallow his pride, mend fences and revive Gypsy with LuPone is because his long-time partner, Tom Hatcher, while on his deathbed, essentially requested Laurents do so.

If that’s not love, what is?

He then directed a well-received revival of West Side Story in 2009 (the national tour based on that production is coming to Chicago’s Cadillac Palace Theatre in July).

Cantankerous old man or not, Laurents was a fiercely passionate artist and his death signifies the end of an era. I hope he’s having a wonderful reunion with Tom up in that great white way in the sky.

Related posts:

• Thoughts on “Mainly on Directing” by Arthur Laurents
• Arthur Laurents probably doesn’t like you
• Gypsy: The end of an era

To add to this list, here’s what the Broadway diva had to say in a recent Q&A about Streisand starring in an on-again/off-again movie adaptation of Gypsy, a show for which LuPone won the 2008 Best Actress in a Musical Tony Award:

Any thoughts on the Barbra Streisand Gypsy remake that’s off and on again?
Doesn’t that tell you it’s not going to happen? Arthur Laurents told me the three actresses he had in mind for the role, and of the three, Streisand was the best choice. I think she’s the best choice.

Do you think it will ever happen?
I hope it doesn’t─ha! Movie musicals aren’t done well anyway. There’s no time for applause for the numbers. They aren’t shot correctly─you need to see the dancing. If Streisand gave herself over to the part…singing “Rose’s Turn” is all about giving up control and discovering it every time. I think Streisand is very in control. She would be like, “I’m going to fart, and everyone’s going to hear it!”

Read the full interview on TheatreJones >

LuPone and Benanti

“Well, the first time I ever went out with Patti we were rehearsing for City Center Encores in Gypsy, and she was like, ‘Let’s go out after the show and get a drink.’ And I’m like, ‘Okay!’ I think I was 27 or something like that. And so we go across the street — I hadn’t eaten all day because I had to play a stripper so I was trying to get really skinny — and she ordered two double vodka and sodas. Two of them. I was like, ‘Me too.’ And four hours later I was vomiting out the window of a cab. [Laughs.] My husband said that he came in the next morning and I was just lying on the bottom of the shower. And he said, ‘What happened to you?’ And I said, ‘Patti LuPone.’ [Laughs.]“

Read the rest here >

Coffee in a homemade mug and HGTV:

A step outside on the patio, to be greeted by an uninvited guest (I can’t believe I took this picture):

It’s like the Battle of Gettysburg around here:

Gator playing around with Google Sites:

Alley, unamused:

But! I’ve something more exciting to talk about: the discovery of a new star.

Ah, yes. Momma Rose. That role every musical theatre actress worth her salt yearns to perform some day. It’s the King Lear of musical theatre roles for women, they say. The main reason being the final number, “Rose’s Turn,” where Rose loses her sh*t onstage and lets it all come out in a giant rollercoaster of emotions.

Ethel, Bernadette, Angela, Tyne, Betty and Patti are a few notable musical theatre actresses who’ve played the role onstage to acclaim. And now we can add Hannah Rose DeFlumeri — a 16 year old high schooler from Sandy Hook, CT — to the list. I mean, just watch:

Scary, right? A teenager shouldn’t have such a deep understanding of a 50-something woman’s extreme desperation. Yes, there’s some strange phrasing and it seems she (or her director) may have watched the LuPone bootleg a bit too much, but she’s in HIGH SCHOOL. Impressive. Her “Everything’s Coming Up Roses” is rather remarkable, too.

Let’s hope she keeps this acting thing up.

However, some dear friends went to last night’s performance, and Patti stopped the show. Literally. To throw out a photo taker. During the show’s climax, Rose’s Turn. Talk about a diva who knows how to make a point!

SarahB was there, and reported on it here.

Let’s hope tonight’s performance proceeds without incident.

This was mind-blowing news. LuPone was never supposed to play Rose. It wasn’t in her fate. It was always a big “what if?” for those who knew the legendary back-story – the riff with Gypsy librettist Arthur Laurents which impeded her chances of ever playing the role. For big-time LuPone fans, we always knew she had the ability, but not the opportunity.

Fortunately, Ravinia CEO Welz Kauffman and Gypsy Director Lonny Price found a loophole. She could play the role in a concert setting for a limited run, and I vowed that I would see every performance. August 2006 couldn’t come fast enough.

But it did. And what a weekend it was.

Most memorably, the weekend, which The New York Times noted as “the theatrical event of the year,” brought many theatre fans from far and wide to the pastoral environs of Highland Park. I re-connected with old friends and made new ones, and even met several whom I’d only known through online theatrical communities. In retrospect, I enjoyed the pre-show gab and wine fest just as much as seeing the actual show.

We saw all three performances. The first performance will always stay in my mind. Until this time, we could only imagine what LuPone would bring to this classic role. What would her voice  sound like singing that Sondheim/Jule Style score? Would she be a comedic, sexy or frightening Rose? Would I self-implode following the performance?

But when she came sashaying (yes, sashaying) down the aisle of Ravinia’s Pavillion and stepped onstage to instruct her daughters on the virtues of smiling and singing out, it all made sense. Though a notably understated performance that first night, we remained confident.

Then it happened: LuPone received a three minute long standing ovation following her first ever public performance of “Rose’s Turn.” The look in her eyes (and the smirk on her face) during this ovation stays with me. It was a defining moment.

Let’s also note that LuPone was concurrently starring as Mrs. Lovett in the revival/revisal of Sweeney Todd, using her vacation time to tackle Rose, which I think automatically propels her into diva superhero status.

I was also happy to see that Lonny Price had wisely managed to stage a full production, with wigs, costumes, lighting, choreography and minimal sets. I’m sure Price understood that if you’re going to shepherd LuPone in this iconic role, it better not be half-baked.

The next night we sat front row. She turned it up a few notches this time, perhaps due to the confidence of knowing she hadn’t failed the night before. I can only imagine the pressure on her to “bring it” after decades of growing expectations.

The third and final night, she brought it home. People were buzzing after the show. It was electrifying.

And that was it. We thought.

In March 2007, it was announced that City Center was staging Gypsy, starring LuPone, for an entire month of performances, under the direction of…Arthur Laurents! Seems LuPone and Laurents had mended fences and joined forces. We had all heard the rumors, but I was still amazed when I read the press release. So, we planned our trip to NYC.

Kari and SarahB, whom I love dearly, made the weekend a very special affair, offering shelter, arranging our tickets, and bringing the cool.

Her performance was tighter, more confident. The staging was stronger. Her hair…was bizarre. (She was wigless, so her Rose in this production had a chic, suburban bob). But, of course, we all looked past that. NYC finally got to see her Rose. And, again, she got that standing ovation after “Rose’s Turn”.

And then I bought LuPone a martini after the show. Read about that here. (Or here.)

The limited month-long run ended, and we thought THAT was it.

Nope.

Six months later, it was announced that Patti’s Rose was coming to Broadway’s St. James Theater.

Critics bowed down to her (and ate their hats.) She won all the major awards. She got standing ovations. Long-time theatergoers vowed that her performance was among the best they’ve ever seen – if not THE best. Her performance on the 2008 Tony Awards is ranked up there with the best.

Today producers have announced the production is closing January 11 – seven weeks earlier than expected. Sadly, not even the combined force of LuPone and Gypsy can overcome this recession, it seems.

And while I’m disappointed I missed this production, my credit card is a little happier. LuPoneGypsy ain’t cheap.

But I’m mostly sad that an end to an era is over. This was an amazing production, directed by theatrical royalty, starring one of the last true Broadway stars. There aren’t any other female Broadway stars out there who can play this role (who already haven’t). In fact, I don’t know of any real female up-and-coming Broadway stars that could play this role in 10, 20 years. (Sutton Foster? Sure she’s cute, charming and talented, but not anywhere in the same league as Bernadette, Betty, Patti, Chita, Lansbury, etc.)

Let’s hope I’m wrong. And let’s also hope that some brilliant producer films this performance before it closes for future generations to see.

So, curtain up! Light the lights! Let’s cheer this production on for the next three weeks.