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The management

The producers and directors of "Gypsy" who felt compelled to bowdlerize some rather tame terms from the play to satisfy the censorious sensiblities of a piano player might want to consider this news item:

http://www.chron.com/cs/CDA/story.hts/front/1373586

Last Friday was first night of rehearsals for the chorus line dancers. People who know what they are talking about would probably call it a choreographic rehearsal. Whatever, it was amazing to watch a motley crew of largely inexperienced dancers be shaped into a coherent line by Carolyn Foy-Hoffer.

“I’ve been doing this for 42 years,” she said later, by way of explaining how she could do so much with so few so fast.

That is not to say there was no talent and experience among the line. That would not be true. The girl playing the young June was a seasoned dancer leagues ahead of all others in the Baby June and her Newsboys act. She apparently is going to a middle school with a heavy curriculum of arts, music and dance. She could tap dance and was certainly well-schooled in many of the ballet moves.

But it was those of no-experience, but of latent talent that were the most interesting to observing. I was astounding how individual personalities so quickly surfaced in the process of trying to make everyone dance exactly alike.

Notable was Katherine Beauchamp, 11, of Yuba City and St. Isidore’s Catholic School. She may not have had all of Baby June’s moves but she had energy and determination and her serious work at making the Newsboys number work was clearly evident.. When she waved the non-existent newspaper, her wave had extra joie de vivre. When she stepped forward, she did it on time and with slightly more force than some in the seven-member line. There was something extra in her voice when she sang, “ Extra!”

Other kids were notable in their own ways, of course, and that was the point. One girl moves more smoothly. Another had more natural rhythm. The boy was clumsy, but was game anyway and not to be written off..

In the space of a couple of hours Foy-Hoffer had the chorus line moving in unison, counting out the same numbers and beats and looking and gesturing in the same ways and directions. It was an accomplishment of some note.

Why, it sometimes takes drill sergeants longer to get farm boy recruits to start off on the left foot during drill.

Gypsy Rose Lee penned her memoir. That is well known. Less widely appreciated is the fact she also wrote and published at least two murder mysteries, both set in the backstage milieu of burlesque theater. The following books are still available:

"'Gypsy': the Musical", by Jule Styne

"'Gypsy': a Memoir," by Gypsy Rose Lee

"The G-String Murders," a mystery novel by Gypsy Rose Lee

"Mother finds a Body," a mystery novel by Gypsy Rose Lee

Gypsy's husband, film producer, writer and actor, Erik Lee Preminger, also wrote a memoir of life with the world's most famous -- and respected -- striptease artiste: Erik Lee Preminger was the son of famed Hollywood movie producer and director Otto Preminger.

"Gypsy & Me:" at Home & on the Road with Gypsy Lee Rose," by Erik Lee Preminger