“Gypsy” is an iconic musical. There is something incredibly captivating about stories of overbearing stage mothers, something that fascinates us to this day (see: “Dance Moms,” most of the programming on TLC). And Jule Styne and Stephen Sondheim’s musical tale of Rose is one of the most famous examples of helicopter parenting, featuring showtune standards like “Rose’s Turn,” “Some People,” and “Let Me Entertain You.”

Signature Theatre in Arlington, Virginia has mounted a production of “Gypsy” as part of their 2013-2014 season, but unfortunately, it does not live up to its stellar source material. Though Arthur Laurents’ book and Styne and Sondheim’s score spin a compelling story about the perils of pushing your children too far, the stakes don’t seem terribly high in Signature’s production.

“Gypsy” follows Rose (Sherri L. Edelen) as she shepherds her children, June (Nicole Mangi) and Louise (Maria Rizzo) from kiddie shows to vaudeville to, eventually, headlining burlesque shows. The path is not an easy one, and is filled with poverty, a well-intentioned agent, Herbie (Michell Hébert), some dancing chorus boys, a cow costume, and, most devastatingly, June’s departure. Rose had been counting on “Baby June” to be the star she could hitch her wagon onto, but she is left to make do with the less showy Louise, whom she has neglected.

Unfortunately, much like Louise, Signature’s production doesn’t seem like it’s been given the attention it deserves. Under Joe Calarco’s direction, the show feels underprepared—there’s a sense that the actors are not quite familiar enough with their lines, choreography, and even, in some cases, their songs. “Gypsy” is a show teeming with desperation, but the stakes don’t seem terribly high for any of the characters. The actors speak at such a quick pace that major emotional beats are missed, and few of the lines truly resonate, or even like anything more than just lines.

A bright spot in the production is the strippers (played by Donna Migliaccio, Tracy Lynn Olivera, and Sandy Bainum) who appear in Act II and explain to Louise that she’s “Gotta Get a Gimmick.” In that moment, the hammy aesthetic of the production works, and the humorous number serves as the high point of the show.

The technical elements all work together quite ably, though the wigs (by Annie Nesmith) do not read realistically in the intimate theater. Karma Camp’s choreography seems to have potential, but is frustrated by the lack of taps on the shoes used in tap sequences and the missed beats by the actors.

“Gypsy” is capable of packing an emotional punch, but in this production it fails to do so, surprisingly. After all, show business is full of actors who desperately need to “make it,” and that is the exact same need that serves as the main motivation for Rose, and, to a lesser extent, June, Louise, and Herbie. Signature’s production, however, lacks that need that is inherent to everyone in “the biz," and is thus hampered from effectively telling the story it needs to tell.

"Gypsy" plays at Signature Theatre (4200 Campbell Ave., Arlington, VA) through January 26. Tickets are $40-$104. More information can be found at signature-theatre.org.

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