It’s a real treat when a trip to the theatre engages all of the senses, and that is exactly what you can expect at The Mill at Sonning. Even before setting foot in the venue, the smell of the evening’s delicious food offering greets you, and since every ticket includes a meal, no one misses out! The level of hospitality offered by all of the staff is a delight, and really adds a sense of occasion to the visit, which can sometimes be missing in the age of digital tickets and contactless service.

A lot has changed in the world since striptease artist Gypsy Rose Lee wrote her memoir in 1957 but the giddy highs and heartbreaking lows of showbusiness remain very much the same. The original production of Gypsy, based on the memoirs, opened on Broadway in 1959 and tells the tale of the early years of Gypsy’s life- when she was still known to all as Louise - the quiet, less talented sibling of her sister June, offspring to their overly ambitious mother, Rose.

Rebecca Thornhill gives an absolutely flawless performance as Mama Rose, capturing the sheer determination and slightly manic obession of the character perfectly, whilst lending her beautiful vocals to all of Rose’s well known numbers. Her rendition of ‘Rose’s Turn’ closes the show on a raw and dramatic note. Evelyn Hoskins embodies a meek and obedient Louise, Rose’s eldest daughter, who would later become Gypsy Rose Lee, one of the greatest burlesque artists in the world at the peak of her fame. The onstage pairing of Thornhill and Hoskins is finely nuanced, and the borderline toxic mother/daughter relationship the two share is almost palpable. During the final scenes when Gypsy has managed to branch out and make her own way in life, Hoskins presents an entirely different version of the character, leaving behind the child who was so desperate for her mother’s love and approval.

This run of Gypsy can boast that it is The Mill’s biggest ever production, and it is clear that director Joseph Pitcher and the creative team have given careful consideration to every aspect of the show. The simple set designed by Jason Denvir makes fantastic use of the relatively small playing space, and Nic Farman’s lighting design connotes the differences between the tawdry glamour of touring vaudeville, and the seedy digs and dressing rooms that Rose and her act so often frequented.

The show boasts an able cast of actor musicans who are often roaming around the auditiorium as well as the stage, and there are some wonderful comic moments such as ‘You Gotta Get a Gimmick’ in which Louise learns the importance of having a distinct persona as a burlesque performer. The costumes throughout are excellent, but it is during this number that costume designer Natalie Titchener’s real talent becomes evident.

Although the production doesn’t really hold any surprises, Gypsy has been a staple of the musical theatre repetoire for many years, and it is a joy to watch this energetic and talented cast breathe new life into the classic, and in such a glorious venue.

**** Four stars

Reviewed by: Sarah Brown

Gypsy plays until 15 July, with further information here.