Lansing Civic Players has struck a chord that keeps thrumming throughout the entire production of Gypsy, a musical biography inspired by the famous stripper Gypsy Rose Lee and her domineering mother.

To Mama Rose nothing but stardom for her children was good enough. No heights were ever high enough to meet her demands. Her story as told in Gyspy continues to resonate with everyone--performer or not--who has tried to meet unreasonably high demands of either critics and supporters. It's also a play that forces us to ask who we perform for--is it for ourselves or for those who demand we live their dreams and expectations?

There is a delicious irony in that Director Dan Pappas and his actors show they "get" the message that good enough can still be wonderfully entertaining without having to be better than everyone who has ever done what they do. They infuse the story of the woman obsessed with artistic raves with a celebration of performance. Actors of all ages and skill levels come together in this production to create a show that is truly about community and making participation in the arts available to all.

This show demonstrates why acting happens in the pauses. Kat Cooper (who played the adult Louise who became Gypsy Rose) and Gordon Hicks (Herbie, the agent who wanted to marry Rose and settle down) illustrate just how two actors can support a scene without stealing focus. Their reactions to Mama Rose made such numbers as Everything's Coming up Roses heart-breaking. Likewise, Cooper's longing expressions added depth to Tulsa's (Joe Quick) beautiful dance number at the end of Act I.

Given the legendary actresses that have played Rose in the past, it's easy to think that the musical is all about her. Pappas chose a more subtle route, one that played on Cooper's strengths. In this production, the play truly is about its title character and the life that she lives in an effort to make her mama happy. Cooper brought a subtlety to her performance, making the fumbles called for by the script, but never drawing undue attention to them. Instead, we see her attempting to cover up Louise's errors, even while knowing that they're shining through.

While Louise was the star of this show, Cindy Lyons Miller as Rose was no slouch either. She was at her best when singing, her strong voice reverberating throughout the auditorium. In the first act, her movements seemed awkward and forced, but they became more natural as the show progressed and as Rose's drive and mania intensified.

What made Miller's Rose even more appealing was that she didn't make the easy choice of doing the role the way its been done countless times before her. She instead made Rose vulnerable, choosing a route where her love for her daughters shone through. By so doing, she made Rose more accessible, a character that far more people could recognize and relate to.

Another standout performance in this show was Emily Hadick as Baby June, a child all bouncy and cuddly with a powerful singing voice. Every moment she was on stage was delightful and it was easy to see why Rose believed her daughter could be a star.

Hannah Church as the adult June shined as a girl eager to achieve her mother's dream without wanting her harping interference. Where Louise performed out of love for her mother, June had use for her mother only so far as it helped her achieve her dreams. Church captured this callousness while still showing a great deal of tenderness for her sisters and fellow performers.

Another performer who earned extra kudos for her commitment was Terra Forbes. It's difficult enough to play a stripper with a trumpet, but it crosses over into impressive when done with an injured knee.

Mama Rose was obsessed with stardom, scorning all of life's joys that happen on the journey. Thankfully, Lansing Civic Players knows that bright lights aren't just for the legendary. You don't have to be a professional of star quality to perform in such classics as Gypsy nor does an audience have to go to Broadway to be thoroughly entertained by it.

Recommended: Yes