Rose Louise Relationship

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The central relationship that sustains the musical is the relationship between Rose and Louise, with Rose and Herbie’s relationship ending before the end of the show. The show rejects the expected heterosexual romantic resolution, the norm for musicals, for the relationship between mother and daughter. In fact, Gypsy eliminates men and adds women in the second act, Tulsa and all the newsboys leave with June, and they are replaced with girls, then Herbie leaves and the world of vaudeville turns into the world of burlesque and women become central (Wolf, 2002). This next section will look at the central mother-daughter relationship between Rose and Louise but not before we briefly look at the relationship with June.

June is the favourite child, on whom Rose dotes. She is the ‘star’ on which Rose hangs all her dreams of stardom, but June hates performing vaudeville and always has, preferring to be a real actress. She is desperate to escape Rose, convinced that Rose only cares for her because of her talent and he resents her for not letting June grow up (Miller, 1996). Although the younger
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In ‘If Momma Was Married’, we see that all Louise really wants is a normal domestic life, a real childhood. However, once June has gone and all Rose has left is Louise, the reality of being the one in Rose’s sights is not pleasant, and does not mean that Rose even cares about her now, just that Louise is all Rose has left to achieve her dreams (Miller, 1996). Rose’s desperation is shown, when despite expressing disgust at the world of burlesque, she volunteers Louise without thinking twice when the headlining stripper is unable to perform. She recognises that it is her final chance to make

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