Black mothers have always been the backbone of our communities, pushing forward with a determination that defies every obstacle in their path. They don’t just raise children—they protect, advocate and fight for them to have opportunities beyond what was afforded to previous generations. This is more than love; it’s our legacy of resilience.
Gypsy—which tells the story of real-life burlesque performer Rose Louise Hovick—better known as Gypsy Rose Lee—and her mother Rose Thompson Hovick, is the story of a mother who refused to accept “no” for an answer. It’s something we see from Black mothers on the daily: women who historically had to navigate a world that often tries to diminish them and their children’s potential. The audacity to dream bigger, demand more and push past closed doors—well, that’s been in our DNA for centuries.
Audra McDonald and Joy Woods are the first African American actresses to bring these leading roles to life on the Broadway stage, and the theme surrounding the unyielding spirit of Black mothers who will do whatever it takes to protect and uplift their children isn’t lost on either of them. They have both lived the experience themselves.
With EBONY, they discuss the power of Black motherhood and the unwavering determination it takes to carve out a future where our children thrive.
EBONY: This has always been a story about a mother’s determination to make sure her children succeed. But in this Broadway revival, we’re seeing it through the eyes of a Black mother. Why is that so important for us as a community?
Audra McDonald: It all comes back to audacity—the audacity to say, “There will be more for my child than there was for me.” It’s in our DNA. Rose even says it at the beginning of the show: “I’ll be damned if I’m gonna let them sit away their lives like I did, or like you do—pointing to her father—There’s more out there. And if a thousand people have to say no to my face, then a thousand people are gonna have to get exhausted saying no to my face. Then I’ll go to the thousand-and-first person.”
Thank God our ancestors didn’t just say, “This is how we live; we just live enslaved.” All of our ancestors had the audacity to say “no” and resist in whatever way they could. I remember reading an article about how Black parents sometimes put their children down in front of white people. That practice was passed down from enslaved women—when overseers or masters saw their strong sons and thought, “Maybe I can use him.” So, the mothers would say, “Oh no, he ain’t no good. He’s not worth anything.” They did that to protect their children so they wouldn’t be taken away.
And when children were sold off to other plantations, there were always enslaved people at those plantations who said, “Alright, now we become this child’s family.” Because they knew their own child might be somewhere else, and they hoped someone there would do the same. That was a form of resistance, too.
This production features Black women in leading roles, but it does not have an entire Black cast. Why was that decision made?
Woods: When I first learned about it, I thought, Oh, an all-Black Gypsy. And there would be credibility to that idea. However, for the most impactful telling, it needed to reflect the real world. If Rose truly wanted stardom for her children, she wouldn’t have found it in all-Black spaces. I would love to see an all-Black Gypsy—I’d have an excellent time. But including other communities makes the story hit harder, given the racial history and context of that era.
McDonald: We got permission from all the estates to do this production—but with certain conditions. We couldn’t change a single line or rewrite lyrics. But I knew I wanted a Black director with a clear vision. George C. Wolfe is one of the most brilliant, prolific directors of this century, and I trusted him to help me unearth my own Rose. When he explained his vision, I got it.
Rose makes a harsh decision to yank out these sweet little Black boys that had been performing with Baby June and replace them with white boys—it’s ugly. It’s harsh. And it’s meant to be. Making June white-passing, making her more palatable—this opens more doors, more places to perform. By the time they make it onto the Orpheum circuit, they’re seen as an all-white act.
Audra, what similarities do you see between yourself and Rose?
McDonald: The fierce way in which she protects her children. One may not agree with how she does it, but in her mind, she’s doing everything she can to keep them safe and help them thrive. I certainly recognize that in myself as a mother. Sometimes, I am a bit smothering. My almost 24-year-old would say the same. When she was 12 or 13, all the other kids in the neighborhood could walk to the coffee shop alone. I wouldn’t let her. Finally, one day, I acquiesced, but I followed her in the car. She eventually figured it out and was furious. I thought one day, she might understand—or maybe not. But she’ll be alive.
Joy, how do you relate to your character Louise discovering herself?
Woods: It wasn’t something that I ever dreamt of doing or saw myself in, because all the iterations of the show before now didn’t include anyone that looked like us. I revered the show and hoped to see a revival someday. Then, I heard Audra was doing it, and I thought, “I can’t wait to see who else is in that production.” It feels like this came into my path to teach me about myself. That’s similar to Louise—she was thrust into a situation where she had to find herself and bloom. That journey of discovery—holding onto what you know about yourself until you have to fight for it—is something everyone can relate to.
Audra, do you feel a maternal protection over the cast?
McDonald: Yes, absolutely. I had mentors guiding me when I was their age, and I’m grateful for them. I feel protective, even in small ways, like speaking up when the stage is too dry or the dressing rooms are freezing. I know I have a voice with some power in this production, so I’m not afraid to advocate for things that make our environment better. Rose wouldn’t hesitate to protect her kids, and I feel the same way about our cast.
Thinking of your own parents Joy, did they do whatever it took to support you?
Woods: In my experience, their sacrifice was more about dreams deferred—giving up careers, moving for better opportunities, taking jobs that kept them away for long periods. They knew their work would set us up for success, even if it meant being apart. I’ve been thinking a lot lately about the sacrifices made for me and what I want to do moving forward for myself and others.
What are your favorite moments in the show?
Woods: My favorite part is backstage—throwing it in a circle to golden-age musical theater music with people I love. As for onstage, I love the second act, from the moment we show up at the burlesque house and the chaos of “Gotta Get a Gimmick,” the whirlwind of it all, that’s fun.
McDonald: I don’t get to watch much of the show, but one of my favorite things is listening to “If Mama Was Married” while I change for “Everything’s Coming Up Roses.” Joy and Jordan [Tyson] sing it beautifully. Rose doesn’t hear it, but as an actor, it helps me feel the impact of what she’s doing. Honestly, my favorite thing changes every night. Sometimes, it’s just the bows—because that means we made it! When I see Joy swish, swish, swishing in that gold dress, I think, “Okay, we lived!”
Gypsy on Broadway is now playing at the Majestic Theatre in New York City.
