NEW YORK — You need a gimmick to stand out.

In “Gypsy,” this spunky motto comes from a group of seasoned strippers who utilize lights, music, and dance to differentiate themselves in a sea of performers. It also reflects a trend in many contemporary Broadway revivals that strive to show they’re not just copying their illustrious predecessors.

Luckily, director George C. Wolfe has taken a different approach. The revival of “Gypsy,” which premiered on December 19 at the freshly renovated Majestic Theatre, stands out as an exceptional kind of revival: one that explores deep new interpretations of the classic while preserving its intrinsic brilliance.

At first glance, this version of “Gypsy” seems straightforward, focusing on Mama Rose (Audra McDonald), the ultimate stage mother, who determinedly pushes her daughters, June (Jordan Tyson) and Louise (Joy Woods), toward stardom. Costumes by Toni-Leslie James are simple yet appealing, while Santo Loquasto’s hand-painted sets vividly represent early 20^th century America, adorned with faded advertisements featuring cheerful white faces promising an opulent lifestyle.

However, casting a Black actress as Rose for the very first time on Broadway brings a nuanced and powerful dimension to the narrative, maintaining the integrity of Arthur Laurents’ original script. For example, it’s clear that Rose favors the lighter-skinned June, hoping her daughter will be more acceptable to the predominantly white vaudeville audience. When the disillusioned June leaves, Rose tries to transform Louise into the star by dressing her in a blonde wig. (“It makes her look more like …,” Rose hesitates. “It makes her look more like a star.”)

Subtle shifts in dialogue introduce sharp racial implications: a white secretary (Mylinda Hull) disdainfully refers to Rose and her family as a “tribe,” or when Rose expresses gratitude for her family’s “good color.” Additionally, an innovative new choreography by Camille A. Brown showcases Rose precariously replacing June’s Black dancers with a sleek group of white men.

Traditionally, the role of Rose has been filled by powerhouse performers like Ethel Merman, Patti LuPone, and Bette Midler (in a 1993 television adaptation), with their powerful vocals dominating the stage. However, McDonald presents a different take; instead of being an overpowering force, her Rose is a determined strategist, always looking for the best for her daughters, having sacrificed her own aspirations along the way.

While McDonald’s Rose shows signs of disturbing delusion and makes shocking choices that elicit gasps from the audience, she anchors the character with a rich emotional depth rooted in misguided love and sorrow. Rose is a woman who’s been abandoned again and again, using her charming and gentle nature to navigate her ambitions. McDonald plays her with both warmth and fragility, creating a Rose who genuinely cares for her children, making her apologies feel authentic.

“Nothin’ wonderful is going to happen to you,” her father (Thomas Silcott) remarks dismissively.

“Maybe not to me,” Rose replies. “But they’re gonna have a marvelous time!”

On the surface, it may seem unexpected for McDonald, known for her classical soprano with an operatic flair, to take on this role. Yet her beautiful vocals shine in songs like “Small World” and “You’ll Never Get Away From Me,” the duets shared with the character Herbie (a deeply moving Danny Burstein). While she may not have the usual boldness associated with past portrayals of Rose, her trembling voice brings new, profound expressions of longing in iconic numbers like “Some People” and “Everything’s Coming Up Roses.”

The much-anticipated moment at 11 o’clock: McDonald’s performance of “Rose’s Turn” is truly a remarkable experience; it’s the type of astonishing theatrical magic that you’ll recount to your grandchildren someday. The six-time Tony Award winner pours her heart and soul into a deeply emotional and intense interpretation; a brief glimpse of imagined victory for the isolated and overlooked Rose.

McDonald is joined by a stellar supporting ensemble: the powerful Tyson and the talented Marley Lianne Gomes, who shine as the older and younger June, respectively; and Lesli Margherita, who cleverly utilizes her limited stage presence as the sharp-witted stripper Tessie Tura. Woods also brings essential innocence to Louise, adding depth to the character’s naivety. You can see her emerging sensuality in “All I Need Is the Girl,” and she conveys a strong desire for a life outside the limelight in “If Momma Was Married.”

Sadly, the production stumbles in its last 15 minutes, speeding through Louise’s evolution from a shy wallflower to a confident star in the burlesque world as Gypsy Rose Lee. At times, Woods seems lost amidst Brown’s chaotic choreography, making it difficult to match McDonald’s passionate intensity in Louise’s climactic confrontation with her mother. This pivotal scene fails to have the expected emotional impact.

Nevertheless, this is a minor flaw in an otherwise exceptional production. Step aside, world; Audra is taking over the stage.