Broadway

On a recent trial of Broadway HD, a streaming service, I watched Gypsy (the 2005 West End revival with Imelda Staunton as Rose), She Loves Me (Harnick and Bock, 2016 on Broadway), and The King and I (a sumptuous 2017 revival with Kelli O'Hara and Ken Watanabe). Wonderful works, all of them.
Of course, in the latter two shows, the principals are at such odds with each other that how could they ever get together. But they do, in their fashion.
Re Gypsy. It's often noted that Rose, the driving force of the show (thumbnail: "overbearing mother") is one of the most complex characters in all musical theatre. I suppose because she can't help creating and feeling such pain. In "Rose's Turn," the powerhouse song/soliloquy at the climax of Act Two, she cries out for her share of success in this life, which translates to the star turn she takes, alone on stage and abandoned (she assumes).
Also on Bway HD, I caught an interview with Stephen Sondheim, recorded in London about ten years ago, in which he recalled the Act One climax to Gypsy (he wrote the lyrics, music by Jules Stein), when Rose discovers that her eldest daughter, and the boys in their vaudeville act, have the left to try it on their own.
Sondheim was writing for a star, Ethel Merman. It had been assumed, Sondheim said, that Merman was no actor, so he wrote a song--the famous "Everything's Coming Up Roses"--to suit her brassy style. (All those years before on-stage mics, Merman never had trouble reaching the back of the theatre.) In the scene, she could just belt out the song. The other characters could do the acting. 
In fact, Sondheim learned, Merman, the Vaudeville vet, turned out to be a very fine actor, especially in comedic bits.
I did cancel the streaming service before the end of the trial but might go back to it. 
They're such wonderful shows!