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McDonald's says they didn't intend to change a single word to fit the show's more modern vision. Gabriela Hearst dresses. Gianvito Rossi shoes. Bottega Veneta earrings. Briony Raymond necklace. Calling Rose a stage mother is like calling a T. rex a reptile. The real-life Rose Thompson Hovick was the original stage mother a Kris Jenner or Tina Knowles long before their time who devoted herself, often to the point of delusion, to turning her two daughters, June and Louise (eventually, Gypsy), into stars on the fading vaudeville circuit of the 1920s. Rose's exploits were laid bare in Gypsy Rose Lee's vibrant 1957 autobiography, Gypsy: A Memoir, which became the source material for the musical as well as a 1962 film starring Rosalind Russell and Natalie Wood. Gypsy, born Louise, began stripping in strip theaters as a teenager under the watchful and approving gaze of her Mother and became a popular event in the 1940s and 1950s as an "intellectual stripper", hanging out with the likes of WH Auden and William Saroyan. Lee refers to Dear Old Mom in the book as variously "a jungle mother" because of her eat-or-be-eaten instincts; she was "brave, resourceful, and ambitious, but not kind". Lee writes that she had her own interpretation of the golden rule: "Treat others as they would treat you".
Shortly after the book was published, Lee, then 46 and at the end of his comedy career, sold the rights to Broadway producer David Merrick. Merrick, along with producer Leland Hayward, brought in Arthur Laurents to write the script, Jule Styne to write the music, and 28-year-old Stephen Sondheim to write the lyrics. Jerome Robbins, fresh from West Side Story, would eventually direct and choreograph. Laurents cleverly titled it Gypsy: A Musical Fable to allow for some practical changes. The group completed the entire production in an astonishing four months, opening on Broadway with Ethel Merman in May 1959.
Once everything was strapped in and secured, McDonald guided me into her boat. “You’ve got to sit down now or else.” I fell into the chair, almost tipping over before we were aboard. She shouted 5, 6, 7, 8 in the staccato rhythm of a dancing captain and gently pushed me into the water. Then she jumped into her boat and we were off. On the cool, clear water with the effort and sweat of the shore behind us I couldn’t help but mumble a lyric from a Gypsy song. “Wherever we go, wherever we do,” I sang, “we’ll make it through together.” She finished the line cheerfully, paddling behind me: “We may not go far, but sure as a star, wherever we are, we’ll be together.” The song came as Rose was trying to convince her lover, Herbie, and her daughter, Louise, that they had to stick together. It was a moment of warped optimism that belied the lengths she was willing to go for fame. Among her calculated misdeeds: lying about her children's ages, berating them in front of producers, treating her teenage daughters like toddlers, and living a life of excess that would humble even the most feisty dance moms.
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