She is the author of "Patti LuPone: A Memoir."
Early life
LuPone is of Italian (Sicilian [1]) descent. [2] She is a graduate of Northport High School. LuPone was part of the first graduating class of Juilliard’s Drama Division.
Theatre
In 1972 John Houseman took his beloved class and formed The Acting Company, making them America’s foremost nationally touring repertory theater company. Her stint with the Acting Company lasted from 1972 to 1976, and she was featured in such works as The School for Scandal, Women Beware Women, The Beggar’s Opera, The Time of Your Life, The Lower Depths, The Hostage, Next Time I’ll Sing to You, Measure for Measure, Scapin, Edward II, The Orchestra, Love’s Labours Lost, Arms and the Man, The Way of the World, and The Robber Bridegroom, for which she received a Tony Award nomination. In 1986, alumni members of The Acting Company joined forces for a West End revival of The Cradle Will Rock in which LuPone played Moll, and for which she received an Olivier Award. Ms. LuPone is an important player in contemporary American musical theater. She made her Broadway debut in the play Three Sisters Her first leading role in a musical was The Baker’s Wife, which did not make it to NYC. She has performed on Broadway in works by Andrew Lloyd Webber, Stephen Sondheim and others. She won a Tony Award for Evita in 1980.
In 1987, LuPone landed the role of Reno Sweeney in the Broadway revival of Anything Goes, for which she won the Drama Desk Award for Best Actress in a Musical. LuPone’s return to Broadway was supposed to be with the musical Sunset Boulevard, however Andrew Lloyd Webber breached LuPone’s contract by recasting her role for the New York production. LuPone subsequently sued Webber, but the two settled the dispute out of court with a hefty settlement in favor of LuPone. After this LuPone was so disappointed, it took her a year to return to the stage. In 1996, LuPone returned to Broadway in a triumphant fashion in a concert style celebration of her career called Patti LuPone on Broadway for which she received an Outer Critics Circle Award for Outstanding Solo Performance. Also in 1996 LuPone was asked to replace Zoe Caldwell in the Terrance McNally play, Master Class for which she received rave reviews and later performed in the West End. In 2001 she starred along side Peter Gallagher in the Broadway revival of Noises Off. Other Broadway credits include Working (1978), Oliver! (1984), and Accidental Death of an Anarchist (1982).
LuPone has worked with David Mamet since 1977, acting in his plays, including The Woods (1977), All Men Are Whores (1977), The Blue Hour (1978) The Water Engine (1978), Edmund (1982), and The Old Neighborhood (1997)
Ms. LuPone has been a part of many semi-staged concerts of musicals in New York such as the Encores! production of Pal Joey (1994) opposite Peter Gallagher and Bebe Neuwirth; Sweeney Todd (2000) opposite George Hearn and Audra McDonald; Can-Can (2004) opposite Michael Nouri; Candide opposite Kristin Chenoweth; and Passion (2005) opposite Michael Cerveris and Audra McDonald.
LuPone’s triumphs in the opera world extend to Kennedy Center’s production of Regina, The world premier of Jake Heggie's To Hell and Back, and the Rise and Fall of the City of Mahagonny opposite long time friend Audra McDonald and directed by John Doyle with the Los Angeles Opera.
She has three one-woman shows that she performs across the country: Matters of the Heart, Coulda, Woulda, Shoulda, and The Lady With the Torch, which sold out Carnegie Hall.
She originated the role of Fantine in the Royal Shakespeare production of the musical Les Misérables, becoming the first American actress to win the Olivier Award. LuPone returned to the London to portray Norma Desmond in Andrew Lloyd Webber’s Sunset Boulevard in the West End.
LuPone recently starred on Broadway as Mrs. Lovett in John Doyle’s new staging of Sweeney Todd, the Demon Barber of Fleet Street. Ms. LuPone was nominated for a Tony Award for this role.
A regular star at the Ravinia Festival’s annual Sondheim concerts in Highland Park, IL, Ms. LuPone has had starring turns in Stephen Sondheim’s Sweeney Todd (2001), A Little Night Music (2002), Passion (2003), Sunday in the Park with George (2004), Anyone Can Whistle (2005), and Gypsy (2006).
With her unanimously rave reviews from the Ravinia production of Gypsy, LuPone was offered the opportunity to star in a new production of Gypsy, directed by Arthur Laurents, who had directed Tyne Daly and Angela Lansbury in previous Broadway revivals. This production launched a new Broadway performance series, Encores! Summer Stars, a spin-off of the popular Encores! series. The Encores! Summer Stars production of Gypsy is scheduled to open July 9, 2007.
Film
Among LuPone’s film credits are Witness, Just Looking, The Victim, Summer of Sam, Driving Miss Daisy, King of Gypsies, 1941, 'Wise Guys, 24 Hour Woman, Family Prayers, Bad Faith, and City By The Sea. She has also worked with legendary playwright David Mamet on several movies including , (The Water Engine, the critically acclaimed State and Main, and Heist).
Television
LuPone played Libby Thatcher on the television drama Life Goes On, which ran on ABC from 1989 to 1993. She has twice been nominated for an Emmy Award for the TV movie The Song Spinner, and her guest appearance on Frasier. LuPone’s further TV career includes a recurring spot on the last season of HBO’s hit series Oz. She had a cameo as herself in the episode of Saturday Night Live hosted by Kelsey Grammer in 1998. She also played herself in an episode of Will and Grace entitled "BullyWoolley" 2005. She also appeared on the series "Ugly Betty" in 2007 as Mrs. Jean Wiener, the mother of Wilhelmina's secretary, Mark.
Known for her range and versatility, she once played Lady Bird Johnson opposite Randy Quaid’s Lyndon B. Johnson in the television movie, LBJ.
Recordings
LuPone recorded a duet with Seth MacFarlane (in character as Glenn Quagmire) on the 2005 album Family Guy: Live In Vegas.
LuPone released a new CD in 2006, of one of her shows The Lady with the Torch, on Sh-k-Boom Records. In December she released bonus tracks for that CD only on iTunes.
Selected recordings include:
The Baker’s Wife (Original cast recording)
Evita (Original Broadway cast recording)
The Cradle Will Rock (The Acting Company recording)
Les Miserables (Royal Shakespeare Company recording)
Anything Goes (Lincoln Center Theater recording)
Heat Wave (John Mauceri conducting the Hollywood Bowl Orchestra)
Patti LuPone Live (Solo Album)
Sunset Boulevard (World premiere/original London cast recording)
Matters of the Heart (Solo Album)
Sweeney Todd (New York Philharmonic recording)
Sweeney Todd (2005 Broadway Cast recording)
The Lady with the Torch (Solo Album)
The Lady With the Torch...Still Burning (Solo Album)
To Hell and Back (Philharmonia Baroque Orchestra World Premier recording)
Personal life
Her first name, Patti, is not short for “Patricia”; it is her mother’s maiden name. LuPone’s great-grand-aunt was the celebrated 19th-century opera singer Adelina Patti. Her brother is actor, dancer, and director Robert LuPone, and her other brother William is a teacher. When they were young they performed on Long Island as the LuPone Trio.
She had a long-term relationship with fellow Juilliard classmate Kevin Kline.
She married Matthew Johnston in 1988 on the Vivian Beaumont Stage at Lincoln Center after filming the TV movie LBJ, they had one child on 21 November 1990, Joshua Luke Johnston.
She currently resides with her family in upstate Connecticut.
Source: Wikipedia
Rose's Turn
Patti LuPone Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Here she is, boys!
Here she is, world!
Here's Rose!
Curtain up.
Light the lights.
Play it, boys.
You either got it, or you ain't.
And, boys, I got it.
You like it?
Well, I got it.
Some people got it and make it pay.
Some people can't even give it away.
This people's got it
And this people's spreadin' it around.
You either have it
Or you've had it.
[Spoken]
Hello, everybody, my name is Rose! What's yours?
How do you like them eggrolls, Mr. Goldstone?
Hold your hats and hallelujah.
Mama's gonna show it to you.
[Spoken]
Ready or not, here comes Mama.
Mama's talkin' loud.
Mama's doin' fine.
Mama's gettin' hot.
Mama's goin' stong.
Mama's movin' on.
Mama's all alone.
Mama doesn't care.
Mama's lettin' loose.
Mama's got the stuff.
Mama's lettin' go.
Mama?
Mama's got the stuff.
Mama's gotta move.
Mama's gotta go.
Mama? Mama?
Mama's gotta let go.
Why did I do it?
What did it get me?
Scrapbooks full of me in the background.
Give 'em love and what does it get ya?
What does it get ya?
One quick look as each of 'em leaves you.
All your life and what does it get ya?
Thanks a lot and out with the garbage,
They take bows and you're battin' zero.
I had a dream.
I dreamed it for you, June.
It wasn't for me, Herbie.
And if it wasn't for me
Then where would you be,
Miss Gypsy Rose Lee?
Well, someone tell me, when is it my turn?
Don't I get a dream for myself?
Starting now it's gonna be my turn.
Gangway, world, get off of my runway!
Starting now I bat a thousand!
This time, boys, I'm taking the bows and--
Everything's coming up Rose!
Everything's coming up roses!
Everything's coming up roses
This time for me!
For me! For me! For me!
For me! For me! For me!
The lyrics to Patti LuPone's song "Rose's Turn" is from the musical "Gypsy," which is loosely based on the memoirs of Gypsy Rose Lee, a famous burlesque performer. In this song, the character of Rose, the mother of Gypsy Rose Lee, finally gets her chance to take the stage and show off her talent. The lyrics showcase her determination to succeed and prove herself to the world.
The first verse emphasizes Rose's grand entrance onto the stage, introducing her as a force to be reckoned with. She proclaims that she has "got it," meaning she possesses the talent and the drive to make it big. She contrasts this with those who do not have "it" and will not be successful. In the following verses, Rose reflects on her past struggles and disappointment in being in the shadow of others' success. She's fed up with being in the background and wants her turn to shine. The song ends with Rose triumphantly declaring that this time, everything is coming up roses for her.
Overall, "Rose's Turn" is a powerful anthem about perseverance, ambition, and taking hold of one's destiny. It highlights the struggles of those who have been denied opportunities and long for their chance to prove themselves.
Line by Line Meaning
Here she is, boys!
Rose has arrived and is ready to show off.
Here she is, world!
Rose is here to make a name for herself on the world stage.
Here's Rose!
Rose has a strong presence and is ready to be noticed.
Curtain up.
The show is about to begin.
Light the lights.
The show is starting, and the lights need to be turned on.
Play it, boys.
The musicians should start playing.
You either got it, or you ain't.
Some people have what it takes to succeed, and others don't.
And, boys, I got it.
Rose believes that she has what it takes to succeed.
You like it?
Rose is confident in her abilities and wants others to appreciate them.
Well, I got it.
Rose is certain that she has what it takes to succeed, and nothing can shake her confidence.
Some people got it and make it pay.
Some people have what it takes to succeed and can use it to their advantage to make money.
Some people can't even give it away.
Some people lack what it takes to succeed and can't even give it away for free.
This people's got it
Rose has what it takes to succeed.
And this people's spreadin' it around.
Rose is using her abilities to gain popularity and success.
You either have it
To succeed, one must have the natural ability to do so.
Or you've had it.
If you don't have what it takes to succeed, you'll never find it.
Hello, everybody, my name is Rose! What's yours?
Rose is introducing herself to the world and is ready to be noticed.
How do you like them eggrolls, Mr. Goldstone?
Rose is trying to make a good impression on Mr. Goldstone and gain his favor.
Hold your hats and hallelujah.
Rose is about to start her performance and wants everyone to be excited.
Mama's gonna show it to you.
Rose is going to demonstrate her skills and abilities.
Ready or not, here comes Mama.
Rose is presenting herself to the world, whether they are ready for her or not.
Mama's talkin' loud.
Rose is speaking with confidence and is likely to be heard.
Mama's doin' fine.
Rose is succeeding and has plenty to be proud of.
Mama's gettin' hot.
Rose is feeling passionate and excited.
Mama's goin' stong.
Rose is continuing to succeed and has no intention of stopping.
Mama's movin' on.
Rose is advancing and growing in popularity and success.
Mama's all alone.
Rose is independent and doesn't need anyone to succeed.
Mama doesn't care.
Rose is not going to let anything stand in the way of her success.
Mama's lettin' loose.
Rose is unleashing her true abilities and passions.
Mama's got the stuff.
Rose has the talent and skills needed to succeed.
Mama's lettin' go.
Rose is breaking free from anything that might hold her back.
Mama?
Rose is calling out for attention and recognition.
Mama's got the stuff.
Rose is confident in her abilities and knows that she can succeed.
Mama's gotta move.
Rose can't stay still or stagnant in her success and must continue to grow and advance.
Mama's gotta go.
Rose knows that she can't rest on her laurels and must keep moving forward to stay on top.
Mama? Mama?
Rose is still calling out for attention and recognition.
Mama's gotta let go.
Rose is accepting that she can't hold on to her success forever and must eventually move on.
Why did I do it?
Rose is reflecting on her past actions and decisions.
What did it get me?
Rose is questioning whether her past actions and decisions were worth the effort.
Scrapbooks full of me in the background.
Rose's efforts have not earned her the recognition and success that she hoped for.
Give 'em love and what does it get ya?
Rose is frustrated that showing love and dedication has not earned her the success she hoped for.
What does it get ya?
Rose is questioning why she has continued to work so hard for so little gain.
One quick look as each of 'em leaves you.
Rose is lamenting the fact that she has not been able to hold on to success, with people quickly moving on to the next big thing.
All your life and what does it get ya?
Rose is pondering the meaning of her life and what she has accomplished so far.
Thanks a lot and out with the garbage,
Rose feels that she has been cast aside after devoting so much of her life to trying to succeed.
They take bows and you're battin' zero.
Others are celebrating their success while Rose is left with nothing to show for her hard work.
I had a dream.
Rose had a vision of what she hoped her life and career could be.
I dreamed it for you, June.
Rose devoted her life to making her daughter's dreams come true, at the expense of her own success and happiness.
It wasn't for me, Herbie.
Rose's ambition was not for her own success, but for the success of those around her.
And if it wasn't for me
If it weren't for Rose's efforts and dedication, it's possible that no one would have achieved success.
Then where would you be, Miss Gypsy Rose Lee?
Rose is questioning what her daughter's life would have been like without Rose's efforts to make her a star.
Well, someone tell me, when is it my turn?
Rose is asking when she will get the chance to become a star and achieve the recognition and success she deserves.
Don't I get a dream for myself?
Rose wonders why she has given up so much to help others achieve their dreams but has never prioritized her own.
Starting now it's gonna be my turn.
Rose is done waiting to achieve her own dreams and is ready to take control of her own life.
Gangway, world, get off of my runway!
Rose is ready to charge ahead and will not let anything stand in the way of her success.
Starting now I bat a thousand!
Rose is confident in her abilities to succeed and will not accept failure as an option.
This time, boys, I'm taking the bows and--
Rose will finally receive the recognition and adoration that she deserves.
Everything's coming up Rose!
Rose's hard work and dedication have finally paid off, and she's enjoying the success she has always dreamed of.
Everything's coming up roses!
Rose is thriving in every area of her life and has achieved the recognition and success she has always hoped for.
This time for me!
Rose has finally achieved her dreams and is enjoying the success that she has always worked so hard for.
For me! For me! For me!
Rose is reveling in her success and is proud of everything she has achieved.
Contributed by Muhammad L. Suggest a correction in the comments below.
g
Why did I do it?
What did it get me?
Scrapbooks full of me in the background.
Give 'em love and what does it get ya?
What does it get ya?
One quick look as each of 'em leaves you.
All your life and what does it get ya?
Thanks a lot and out with the garbage,
They take bows and you're battin' zero.
I had a dream.
I dreamed it for you, June.
It wasn't for me, Herbie.
And if it wasn't for me
then where would you be,
Miss Gypsy Rose Lee?
Well, someone tell me, when is it my turn?
Don't I get a dream for myself?
Starting now it's gonna be my turn.
Gangway, world, get off of my runway!
Starting now I bat a thousand!
This time, boys, I'm taking the bows and
Everything's coming up Rose!
Everything's coming up roses!
Everything's coming up roses
this time for me!
For me! For me! For me! For me! For me!
For me!
fountainchain126
Patti was terrifying in this part. Her Everything’s Coming Up Roses is the most disturbing interpretation I’ve ever seen, and here in Rose’s Turn we truly see a psychotic breakdown before our eyes. She earned every best actress award that season on Broadway, each one so deserved.
TheMovieBuff
Angela did it first in 1974
fountainchain126
@TheMovieBuff she did what first?
TheMovieBuff
@fountainchain126 I meant to say did it where she had the mental breakdown part of roses turn it’s genuinely terrifying if you find it on YouTube.
jlasf
@TheMovieBuff Saw Patti live. Saw video of Angela. Respectfully disagree. Patti goes deeper emotionally and seems truly psychotic. A lacerating performance. And, in some ways, accurate. According to stories, Rose Hovick wasn't just a "stage mother", she was deeply disturbed and may have killed a woman. At any rate, I am sparing with standing ovations, but leapt to my feet for this performance. I don't know how actors throw themselves into roles like this night after night.
TheMovieBuff
@jlasf I see what you’re saying but Angela’s approach first did it where rose seems like she’s snapped for a bit with her bowing like there’s an audience cheering for her and she’s smiling almost psychotically and then Patti I think really went more deranged with it a bit darker as well with her portrayal
Edressa 96
Whoever filmed this is braver than any US Marine
Tessa Grey
Not the cameraman risking is life to get this bootleg. Patti Lupone is vicious😆
Stephen Mir
Perhaps the greatest scene ever in musical theater, brilliant at every turn, and LuPone leaves no moment, musical, physical or spoken, undernourished. Though the part was written for Merman, it may as well been written for LuPone. It amazes me that this was made, but it also saddens me that it wasn’t done commercially. No doubt, there is an archival video of it. It’s sinful to not preserve such a glorious account of this treasure.
TheReturnofStephan1
In the 1990s, when I was a part of the theater milieu, I was always told that all archival recordings of Broadway shows were stored in Greenwich Village's Lucille Lortel Theater.