The widely anticipated revival of “Gypsy “on Broadway has finally arrived, along with the reopening of the Majestic Theatre after a healthy renovation, requiring the theatre to be closed for nearly eighteen months. Most of the excitement was generated by the return of the renowned Broadway star Audra McDonald to the stage who would take on the iconic role of “Mama Rose.” That coupled with “Gypsy” being one of the greatest musicals produced on Broadway, with music by Jules Stein, lyrics by Stephen Sondheim and a book penned by Arthur Laurents is reason enough for the feverish buzz. The result unfortunately, although spectacular for many reasons, does not completely meet the high expectations swirling around this production. Most of the faults may possibly be attributed to the direction by George C. Wolfe and the lackluster choreography created by Camille A. Brown. The cast is remarkable, but the performances are uneven and unmemorable, except for the incredible characterization of Mama Rose by Ms. McDonald. The two-hour and forty-five-minute running time seems much longer, with the production being sluggish at times and the scene transitions clumsy. Some of the vaudeville musical numbers seem to drag even though they are cleverly staged, with scenic designs by Santo Loquasto, and with vivid costume designs of Toni-Leslie James.

If unfamiliar, the plot revolves around Mama Rose (Audra McDonald), who is determined to get her daughters June (Jordan Tyson), and Louise (Joy Woods), to perform on the Orpheum Circuit and become Vaudeville stars. Many would describe her as the ultimate stage Mother, trying to live out her own unfulfilled show business dreams. After little success, constantly changing routines and replacing chorus members, she meets Herbie (Danny Burstein), who is a retired theater agent, now a candy salesman supplying Vaudeville house concession stands. As can be expected, they become a team much due to Rose’s determination conquering Herbie’s reluctance. As the children become older, the talented June, tired of her mother still treating her like a child, decides to marry and run off with chorus boy Tulsa (Kevin Csolak), who has put together an act for the two of them. Immediately Rose tries to make the untalented Louise the star of the show. Still failing to achieve her goals Rose agrees to marry Herbie, after ending up as the legal show in a burlesque house. One of the strippers cannot perform, so Rose volunteers Louise, who takes on the name Gypsy Rose Lee, to step into the star spot. Louise shoots to stardom and Rose fades into the background. The dramatic climax comes as Rose reveals her own lost dreams of becoming a star as Louise looks on from the shadows, witnessing her mother’s breakdown. All is well that ends well in musical comedy.

The glue that holds this ill-constructed production together is the outstanding performance by Ms. McDonald, who forges through scene after scene with endless energy and powerful determination. Those avid theatre aficionados that were a bit concerned about Ms. McDonald’s voice not being suited for this dynamic mezzo role, can leave those worries behind. Yes, there are a couple of uncomfortable moments transitioning from chest to head voice, but for the most part the vocals are strong, clear and dramatic. Perhaps this adds to the possibility that imperfection is a reason why her dreams were shattered. Ms. Woods turns in a wonderful performance as the young Louise, but stumbles once elevated to Gypsy Rose Lee, once again due to the direction and staging of her transition numbers.

By no means is this production terrible or unsatisfying, but it is not perfect. Mr. Wolfe has delivered some interesting spins on the storyline, but they are not enough to achieve a cohesive, groundbreaking revival. Ms. McDonald and the full orchestra deliver an incredible score may be reason enough to purchase a ticket. Regardless of the slow pace and awkward staging, the eleven o’clock number is what you will remember for a long time after leaving the theatre.  When Ms. McDonald takes center stage on the passerelle in lonely light, with only her thoughts beside her, she gives a performance of a lifetime as she immerses herself in the pain and sadness of “Rose’s Turn.” During these last riveting five minutes you forget everything that has come before. It is only here and now that matters. It becomes clear Ms. McDonald has superbly met the challenge, and that this musical certainly deserves the place in theatre history that it has already achieved.