David Merrick, the original producer for the musical “Gypsy,” once lamented that audiences just aren’t interested in the problems of show people. Still, “Gypsy” was a hit when it first opened in the late 1950s with Ethel Merman, again in the 1970s with Angela Lansbury (who won a Tony Award) and yet again in the 1980s with Tyne Daly (who also won a Tony).

People may not like just any story about show people, but they sure seem to like this one, written by Arthur Laurents, with music by Jule Styne and lyrics by Stephen Sondheim. Last night, Upstage Left Ltd. brought a touring production of “Gypsy” to the Maine Center for the Arts in Orono. Although the audience was small, as might be expected for a Monday night, there was much enthusiasm for the show. It’s hard to miss with a musical score that includes “Everything’s Coming Up Roses,” “All I Need Is the Girl,” “Together Wherever We Go,” and “Let Me Entertain You.” The orchestra, under music director Art Yelton, offered the best time of the evening.

Additionally, Dawn Dos Santos, as the tough Mama Rose, had all the gusto of a get-outta-my-way stage mother, plus a belting voice that continually let the audience know that she loves to entertain. Even though the musical is named after Rose’s daughter, Gypsy Rose Lee, it really is more about the dreams and denials of Mama Rose, and Dos Santos astutely upheld the legacy of some great Broadway women. Opposite her, Alexander M. Oleksij, as Herbie, was sweet and lovable.

Much of the production, however, was rather second-rate due to numerous technical gaffes and a lack of real star power. Whether it was technical staff getting caught in a scene, wigs that needed an extra yank, forgotten lyrics, or a microphone that kept amplifying even when it was backstage in a dressing room, the show had too many blunders for a professional troupe. “Gypsy” is Upstage Left’s first national production, and last night was only the third performance this company has given on tour. Although that’s no excuse for bumbling, it may explain some of the rough edges.

Despite the shortcomings, the audience hooted over the ever-popular strip scenes, a strobe-light dance, and the presentation of some of the most delightful songs in musical theater. It would have been terrific had the quality of the performers and director measured up to the quality of this memorable show — even if it is about the problems of show people.