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Mommy Rose
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Mama Rose's Turn: The True Story of America's Most Notorious Stage Mother Hardcover – October 11, 2013
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3.9 out of 5 stars
77 ratings
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Hers is the show business saga you think you already know--but you ain't seen nothin' yet. Rose Thompson Hovick, mother of June Havoc and Gypsy Rose Lee, went down in theatrical history as "The Stage Mother from Hell" after her immortalization on Broadway in Gypsy: A Musical Fable . Yet the musical was 75 percent fictionalized by playwright Arthur Laurents, tailored to fit the larger-than-life personality of Broadway star Ethel Merman, and condensed for the stage. Rose's full story is even more striking. Born fearless on the North Dakota prairie in 1891, Rose Thompson had a kind father and a gallivanting mother who sold lacy finery to prostitutes. She became an unhappy teenage bride whose marriage yielded two entrancing daughters, Louise and June. When June was discovered to be a child prodigy in ballet, capable of dancing en pointe by the age of three, Rose, without benefit of any theatrical training, set out to create onstage opportunities for her magical baby girl--and succeeded. Rose followed her own star and created two more in dramatic and colorful style: "Baby June" became a child headliner in vaudeville, and Louise grew up to be the well-known burlesque star Gypsy Rose Lee. The rest of Mama Rose's remarkable story included two husbands and countless love affairs, the operation of a "pick-up joint" where she charged admission and sold homemade bathtub gin, wild attempts to extort money from Gypsy and June, two stints as a chicken farmer, and three allegations of cold-blooded murder--all of which was deemed unfit for the script of Gypsy . Here, at last, is the rollicking, wild saga that never made it to the stage.
Greetings, Readers! I researched Rose Thompson Hovick's story with one thought in mind: to find out the truth about this fascinating, and often maligned or misunderstood, stage mother who became a theatrical legend after she had passed away in 1954. I initially thought it would turn out to be a very different kind of a story. Rose's two daughters had written three memoirs and two plays between them, and one of the memoirs inspired Arthur Laurents to write the Broadway musical GYPSY. Laurents, understandably, fictionalized his version for the dramatic impact it would provide on the stage, and did so brilliantly, but it was the daughters' accounts that fascinated me most. They did not match up too well, which meant there was another story there that nobody had found yet... The real truth of Rose's saga began to emerge when I started fact-checking the material. I am pleased that by taking a closer look I finally found out what really happened in the life of this intrepid and complicated woman who has been portrayed on Broadway by Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, and Patti LuPone, in London by Imelda Staunton, and in movies by Rosalind Russell and Bette Midler. Barbra Streisand is said to have a new movie of GYPSY in development. The real Rose Hovick would probably be astounded to know how many wonderful, creative people have been, and continue to be, inspired by her story - and then would take a bow.So here she is, boys! Here she is , world! Here's Rose! All the best, Carolyn Quinn
The full story behind the "Stage Mother from Hell" and every scandal too shocking for Gypsy: A Musical Fable
"It took half a century after the premiere of the musical Gypsy for someone to tell the true life story of 'Mama Rose' Hovick, but thanks to Carolyn Quinn's detailed research and gift for readable prose, it was more than worth the wait. The ruthless stage mother of legend turns out to be far more human, understandable--and in some respects, even more believably terrifying--than the monstrous character that Merman, Russell, Lansbury, Daly, Peters, LuPone, and so many others have played to acclaim. Fans of the musical will be fascinated by this book, but so will anyone interested in reading a damn good biography." --John Kenrick, Theatrical Historian "Here she really is, boys! Here she truly is, world! Carolyn Quinn proves that the Rose whom we came to know in Gypsy was -- and wasn't -- accurately portrayed in the famous musical. Quinn has done meticulous work in finding newspaper clippings nearly a century old, poring over vintage photos and interviewing descendants to put together a fascinating new look at June and Louise's mother. She may strike you as better than you'd assumed -- or worse -- but there's no doubt that MAMA ROSE'S TURN: THE TRUE STORY OF AMERICA'S MOST NOTORIOUS STAGE MOTHER delivers information that ranges from juicy to sobering in a completely remarkable biography." -- Peter Filichia, author of BROADWAY MUSICALS
Publisher
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University Press of Mississippi; 1st Edition (October 11, 2013) Language
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English Hardcover
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368 pages ISBN-10
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1617038539 ISBN-13
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978-1617038532 Item Weight
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1.49 pounds Dimensions
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6.32 x 1.29 x 9.25 inches
3.9 out of 5 stars
77 ratings
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For musical theater fans, "Mama Rose's Turn" seems like the greatest story never told. The Styne-Sondheim-Laurents musical "Gypsy," based on a wild and raucously funny autobiography by Gypsy Rose Lee, is our gold standard. But, once Gypsy and her sister June Havoc had their say in their autobiographies, real knowledge of the central character in the story, their mother Rose, has been almost criminally nonexistent. In giving us the "true" story of Rose, Carolyn Quinn is filling in a major gap. In the introduction, she notes that seeing the Angela Lansbury "Gypsy" in the early 70s had a very strong impression on her. However, by the end of the book, she's all but pulled it apart as unworthy and full of unfortunately mistakes. She says point blank that it is what it calls itself, "a musical fable," and fans know that Gypsy Rose Lee stretched a lot of the truths to make her story a delightful romp, but then seems to get upset by the discrepancies between the plot and reality. No one said it was a true story. In Quinn's corner is her exhaustive research. This is an obvious labor of love, and Quinn has gone to remarkable lengths to find the truth, pouring over letters, looking for anything that can help tell the story. She even has a crime expert detail a picture roughly 60 years old of a suicide that happened on Rose's watch. Now that is determination! But, there is one enormous central problem with Quinn's delivery, and that is her bias. It is never wrong to infuse historical writing with personal feelings. It's impossible to not have strong emotions for a subject or else there would be no book in the first place. However, Quinn slavishly follows "Gypsy" in picking her heroes and heroines. She is so dedicated to Gypsy Rose Lee that she gets increasingly caught up in praising her. It starts with early pictures of Gypsy, where Quinn's over-the-top eagerness to tell us striking and gorgeous she was even as a child. Gypsy Rose Lee herself did not think she was a beauty, and said so often. As things progress, she will spend paragraph after paragraph recounting amazing things Gypsy did, as if she's nominating her for sainthood. As much as she is Gypsy's #1 fan, she detests June Havoc with equal verve. From the first time she mentions June, it's to bash her for essentially lying in her memoirs. It's okay for Gypsy to do it, but not June. In this respect, she's either colored by "Gypsy" the musical, which makes June out to be an ungrateful brat, or during the course of her research learned something about June so horrifying to her that June deserves a spot in hell with Genghis Kahn and Heinrich Himmler. Frankly, it is very distracting and it overshadows the strength of her research. So, was the real Rose the Rose of the musical? Actually, yes. Pushy, sneaky, unscrupulous, unsavory and driven. Many of the stories in the musical turn out to be true. However, what we learn also is the softer side of Rose. She's a barracuda stage mother, but there is no doubt the success of her children meant the world to her (mainly because they were meal tickets, but also out of pride). Rose was often very motherly, as with her devotion to Christmas and carrying around ornaments from year to year to give her kids, and the others in the act, festive holiday seasons. Rose knew the industry inside out, self-taught. We also learn that in the context of her family, she is not particularly ferocious. Her mother traveled to mining town after mining town to clothe prostitutes following discoveries of gold. Her sister was manipulative as well. The one person who was seemingly the most "normal" was her father. In the musical, he's a grump who insists Rose's dreams are worthless, and disappears after an early scene. On the contrary, he was very supportive of Rose, lending her money and very proud of his daughter and granddaughters' successes. Unfortunately, he died in a horrifying car crash (with a train). In the musical's first scene, Rose taunts Uncle Jocko about his fixed kiddie contest by shaming him as being a member of the Elks, the Masons and anything else until she hits on the right group to say her father is a member too. It even works on a judge! However, Rose went way further than that. She had a routine where she would first faint and ask for water before going into the which-brother-temple-are-you. Hell, she even did it for George Abbott when June was starring in his hit "Pal Joey." He didn't believe it, but was polite enough to let her go through the whole shebang before altering her daughters as to her requests. In fact June did leave as a teenager, eloping with a dancer from the troupe. And indeed Rose did try to rework the act for Louise (the future Gypsy). The entry into burlesque is pretty much true, though Gypsy was not a passive player in how it came about, as she is in the musical, mainly as a way to get the character of Herbie so sick of Rose's behavior that he leaves. Yes, Rose did fake birth certificates to make her daughters whatever age was required, so often and so believably that neither Louise nor June actually knew how old they were. June didn't even know she was born in Canada until she discovered there were no birth records of her in the United States (Gypsy was delivered in Rose's house in a scary birth and June during a Canadian trip). She spent her life threatening to sue everyone, including her daughters (she died before Gypsy's memoir came out, but Gypsy wrote stories for "The New Yorker" that were the basis of her book, and Rose was still very much alive to be horrified about them). Blackmail and extortion were as natural to Rose as breathing. Her life after the time period covered in the musical is even more outrageous. Quinn does not shy away from discussing Rose's lesbian affairs, and as smart as Rose was about managing her kids, she had the worst taste in women, one hellish relationship at a time. The suicide of one of her lovers was questioned by many over the years because Rose was outside with other guests when the woman shot herself. Rose was mysterious, had no qualms about lying and using people. In fact, she is merciless when castigating her daughters, sending them letters so full of forceful invective that both often stayed away, but she knew she had gone too far usually and would send a sweet follow-up. It's still wild extortion, but she knew how to manage it. The best sections of Quinn's book come after the "Gypsy" story ends. As bipolar or downright nasty as she is (and a case is made for both), she could also be quite tender and charming, a word Quinn uses many times to describe her perfectly. She opened a camp for kids on her upstate New York property. She adored her grandchildren, though had little access to them as she was typically on the wrong side of her daughters in her last years. It cannot be argued that Quinn does a superb job of bringing to life a shockingly perplexing character, filled with both flaws and strengths. She is never blind to Rose's faults and even finds herself charmed by them. It's Quinn's inability to be fair to everyone else in Rose's life that is jarring and uncomfortable. No matter how low Rose sinks, you can guarantee Quinn is going to sink someone else even lower at every turn. After a while, it becomes distracting to be told a factual episode and then be swamped in excuses for why Rose may have made the choices she did. I also do love Quinn for reminding us that Rose was NEVER called "Mama Rose" in "Gypsy," though not until the last chapter. Madame Rose, yes, but never Mama Rose, though the term has become so familiar that it would have been unthinkable to rope in readers by not using that hook. Read this for the unique and wonderful opportunity to learn more about this truly one-of-a-kind individual, but be warned that Quinn is as guilty of manipulation as was Rose in telling the story.
I admire Ms. Quinn's effort to redeem Rose's image but I find flaws in her defense. Rose's health was too frail to allow her to work a typical job but her asthma did not interfere with her ability to make Jack Hovick's life chaos or prohibit her dragging her children around the country. Her asthma was not triggered with the stress of being on the road constantly or negotiating terms for the act. By writing off June as a spoiled diva, she negates the fact that for 10 to 12 years June was the primary breadwinner for the family. She chose those opportunities that kept her in total control of June and Louise for as long as possible. June and Louise are treated as enemies when they made any attempts at independence. Louise provided homes and financial support to Rose and Rose received financial support from June as well throughout her life. She ignores that there were times that Rose conveniently did leave Louise with relatives, including her father and stepmother, when she was not useful to the original vaudeville act. That Louise made the greater effort to care for Rose but remain distant is indicative of the behavior of the "second best" child trying to gain a parent's attention. It is understandable that June and Louise maintained a distance from Rose in later years to avoid her recriminations for what she considered their ignoring her. Louise, in particular, made many attempts to maintain a relationship with Rose. Louise had an active career that required lots of travel and did not need Rose meddling in that career. People can be very kind and loving but smothering to those closest to them. While Rose could be kind and loving, even charming to outsiders, she could be a harridan to family members. Case in point, the similarities between the early incident of her taking the furniture from Jack during the divorce and the mirror incident with Louise's furniture years later (which Ms. Quinn fails to mention included valuable antiques and artworks that Rose clearly knew were not hers). Her claims of abuse against Jack Hovick (which seemed to only happen to Rose and largely unsupported) and claims of negligence by her daughters (when they only received criticism or law suits in return for their effort). There were no other claims of Jack's abuse from others and he maintained a fairly loving marriage while Rose cont
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