Follies

[distantcousin]

Oct 22, 2017 21:26:27 GMT crabtree said:

I can't make the live screening, but there does not seem to be any encore screenings. Anyone seen any sign of an Encore?

Definitely one happening in Worthing!

[sf]

Nov 5, 2017 19:42:44 GMT stagey said:

How is Dawn Hope? Is the role big? I’m a fan of her but haven’t heard anything about her in this show?

It's a supporting role, and like several of this show's supporting characters she has one big number and a scattering of lines throughout the rest of the show. She's not quite the type that's usually cast as Stella Deems - to give you some idea, the role was played by Lynda Baron in the first London production - but I thought she was very good.

[Someone in a tree]

The vast concrete expanse of the Olivier is not the decaying grandeur of the Weismann Follies. I was never transported to 1970’s NY.

Some great performances from Tracey Bennett (was is just me or did she look like Little My from the Moomins?) Dee, Quast, Hope and the young quartet . I couldn’t take my eyes off the Dame, One more kiss was astounding. As was Could I leave you & I’m still here.

But the opening went on for ever, the revolve never stopped, The 3 song montage fell very flat and why have young Phyllis’s in Lucy and Jessie? (... Ah but underneath is far better song).

This production would work so much better in an old proscenium arch theatre. But at the end of the end of day I don’t care about a large cast and orchestra I care about a production that works and unfortunately this didn’t.

The largish band sounded like a 10 piece to me.

I’ve always thought Sondheim works best in a small space. The odd exception at Opera North and the Chatelet. Perhaps the full forces of an opera orchestra carried it through?

Please can someone tear up the script and adapt Follies for Wilton’s Music Hall?

[distantcousin]

Nov 6, 2017 0:31:32 GMT sf said:

Nov 5, 2017 19:42:44 GMT stagey said:

How is Dawn Hope? Is the role big? I’m a fan of her but haven’t heard anything about her in this show?

It's a supporting role, and like several of this show's supporting characters she has one big number and a scattering of lines throughout the rest of the show. She's not quite the type that's usually cast as Stella Deems - to give you some idea, the role was played by Lynda Baron in the first London production - but I thought she was very good.

Yes, she was definitely one of the younger Follies ladies!

I didn't realise until after the actress playing Hattie was in Stella and Little Britain. Remember her well. Pretty unrecognisable in this!

[distantcousin]

Aug 21, 2017 14:31:59 GMT danieljohnson14 said:

Can people really not hold their bladders for that long? It always annoys me when a first act is about to end and someone gets up to go to the toilet, then shuffles back in midway through the closer. I really think, if there is two minutes left, they should just be told to stand at the back. Two hours isn't gonna kill ya!

They deserve to die!

[distantcousin]

I loved it.

I still can't see any valid reason in this production to not have an interval.

It's just theatrical indulgence on the part of the director.

[michalnowicki]

Does anyone know if we might be getting a cast recording of this?

[Someone in a tree]

Nov 6, 2017 10:38:04 GMT michalnowicki said:

Does anyone know if we might be getting a cast recording of this?

It would be great to have some of these performances preserved

[callum]

Only place I can imagine an interval going is after Who's That Woman - but then I think it would take something away from I'm Still Here, the proceeding number. As I said a few pages back, the show is all about duality. In this case the duality of the spectacular stage-full dance heaven of the Mirror number, followed by the ironically even more show-stopping Tracie B alone on the stage.

I think wherever the interval would go would be problematic. Plus, I buy into the idea of Loveland being this state of existential horror and hell for the four characters - and the dread that snowballs throughout the show towards Loveland would be stopped in its tracks.

A very excited little boy has booked again for Row C downstairs at a Wednesday matinee coming up.

[sf]

Nov 6, 2017 10:35:30 GMT distantcousin said:

I loved it.

I still can't see any valid reason in this production to not have an interval.

It's just theatrical indulgence on the part of the director.

The reason for doing it in one act becomes a bit more obvious if you see a production based, like this one, on the original book that does use an interval: there's no good place to put an act break, and this version of the show has a carefully-constructed rising line of tension from the opening scene to the beginning of the Loveland sequence, and an interval damages it.

(The original London production used a completely different, much softer book that was written to be played in two acts - but that's not the script being used here. That script has never been used since.)

[distantcousin]

Nov 6, 2017 12:24:30 GMT callum said:

Only place I can imagine an interval going is after Who's That Woman - but then I think it would take something away from I'm Still Here, the proceeding number. As I said a few pages back, the show is all about duality. In this case the duality of the spectacular stage-full dance heaven of the Mirror number, followed by the ironically even more show-stopping Tracie B alone on the stage.

I think wherever the interval would go would be problematic. Plus, I buy into the idea of Loveland being this state of existential horror and hell for the four characters - and the dread that snowballs throughout the show towards Loveland would be stopped in its tracks.

A very excited little boy has booked again for Row C downstairs at a Wednesday matinee coming up.

Most of Joe Public would not notice any subtle duality. It's no biggie. I think I'm Still Here would make a fine act 1 finale. Very fitting.

[distantcousin]

Nov 6, 2017 12:27:28 GMT sf said:

Nov 6, 2017 10:35:30 GMT distantcousin said:

I loved it.

I still can't see any valid reason in this production to not have an interval.

It's just theatrical indulgence on the part of the director.

The reason for doing it in one act becomes a bit more obvious if you see a production based, like this one, on the original book that does use an interval: there's no good place to put an act break, and this version of the show has a carefully-constructed rising line of tension from the opening scene to the beginning of the Loveland sequence, and an interval damages it.

(The original London production used a completely different, much softer book that was written to be played in two acts - but that's not the script being used here. That script has never been used since.)

if you insist x

(but you could apply that thinking to many musicals)

[andrew]

I really didn't mind the drag, or the revolving, or the intervalessness. It just goes to show, you can't please everyone, differing opinions will always exist.

I sort of imagine if you stuck it in after "Who's That Woman" you'd end up having a very short first act and a second act that steamrollers into Loveland without building up the required steam. It wouldn't be a disaster but I prefer it in one act. The only reason to prefer an interval really is if fidgetyness takes over, which when I first saw it I got a smidgeon of at the start of Loveland which cleared away with Losing My Mind and the final song. Leave it as it is, it's beautiful.

[Deleted]

Nov 6, 2017 13:23:33 GMT distantcousin said:

 I think I'm Still Here would make a fine act 1 finale. Very fitting.

And then open Act 2 with Too Many Mornings? It wouldn't work and the second half would seem too depressing. Also it wasn't written in a 'traditional' musical format. There is no 'big' act 2 opening number to get people back into the show.

By not having an interval you really get swept up in the emotions of the characters, over the course of the evening, especially Sally as she goes from her nervous optimism, through to her bleak ending. The interval stops that from fully happening. Having seen with and without an interval, my preference is definitely without.

[Deleted]

You CAN'T cut Loveland for heaven's sake, the most famous and possibly best number in the show is part of it!

[karloscar]

I haven't seen this production yet but the the whole point of Loveland is that it should jar with everything else. It's a nightmare version of the gaudy spectacle of the Follies which gets more and more frantic until it all collapses with Ben's breakdown. It really shouldn't fit the style of the rest of the showbiz party.

[andrew]

Nov 7, 2017 10:51:52 GMT karloscar said:

I haven't seen this production yet but the the whole point of Loveland is that it should jar with everything else. It's a nightmare version of the gaudy spectacle of the Follies which gets more and more frantic until it all collapses with Ben's breakdown. It really shouldn't fit the style of the rest of the showbiz party.

Well, spoiler alert, that's exactly what it's like in this production.
On that note, I enjoyed how the strange flower pattern that you could see faded on the side of the theatre wall becomes the drapes that create the Loveland set. A nice little touch.

[distantcousin]

Sept 1, 2017 17:59:30 GMT westendwendy said:

Sept 1, 2017 14:32:12 GMT Mr Snow said:

I'd really hate to see a 2 on your scale! Or did you mean 7/100?

2/10 Viva Forever 10/10 Carrie or Dogfight 9/10 Dreamgirls or Carrie.

In relation to fo singing comment. Janie Dee's voice sounded very weak last night (as someone else pointed out) the chap who sings Beautiful Girls I was worried he wasn't going to reach the notes, Tracey Bennett who is super sounded far too raspy, Zizzi Strallen tinny and others too weren't top notch. Sorry it's what I thought. Imelda was good I'll give her that, great control.

I have to admit, I was surprised at how weak La Dee's singing voice was. Considereing she's done so many big roles in the past.

[distantcousin]

Sept 1, 2017 18:22:15 GMT couldileaveyou said:

To be fair, Janie Dee has never been the strongest vocalist, but on the other hand Donna Murphy is probably the only good singer that has ever played Phyllis in the past 50 years

I wonder why that is? Is strong singing not considered a prerequisite for the part...

[distantcousin]

Sept 7, 2017 16:46:15 GMT westendwendy said:

Sept 7, 2017 13:02:42 GMT Stasia said:

Saw this last week and stand with those who left slightly underwhelmed. Yes, I felt the greatness of the show itself, I awed Imelda and adored both Janie Dee and her younger Strallen version, I even shed a couple of tears listening to Josephine Barstow's One Last Kiss... But still I was not emotionally involved with Sallie's story, and I blame Alex young for that.

I am really sorry to say that and I know that a lot of people like her but for me she was miscast. She walked so ungracefully with no stature, seemed very heavy and couldn't take a decent pose and she looked so unlike Follies girl for me that I couldn't even imagine her being a dancer or being attractive in Ben's eyes. Especially as there was young gracious Phyllis around, and she was just as perfect as I thought the character should be.

Oh, and I haven't noticed any exceptional magic and momentum that couldn't have been broken by inserting the interval. There is almost no pace for the first half of the show so why not add it?

To sum it up, I appreciate the greatness of the show and I am happy I had a chance to see it but this is not something I would recommend to to others or will talk much about (except for "omg I had an evening with Imelda on stage and she made me loose my mind about her - again).

Nastia. I completely agree with you. Alex is an amazing performer and I agree she is miscast in this. I realised actually that for a while I didn't think she was even young Sally! You're right! This is one example of many reasons why the show doesn't gel for me.

Agree 100% - she didn't work for me either.

[distantcousin]

Sept 13, 2017 11:01:53 GMT zak97 said:

One criticism I had was that the actress playing Stella looked a bit too young. Whilst her age relative to Sally and Phylis is not specified, the fact that she supposedly pre-dated them and yet looks noticeably younger than Imelda and Janie as actresses did stand out.

Agree!

[distantcousin]

Sept 13, 2017 12:46:27 GMT lonlad said:

For what it's worth Dawn Hope (Stella) is all of two years older than Janie Dee .....!

Well, you know what they say....

[sf]

Nov 7, 2017 17:46:04 GMT distantcousin said:

Sept 1, 2017 18:22:15 GMT couldileaveyou said:

To be fair, Janie Dee has never been the strongest vocalist, but on the other hand Donna Murphy is probably the only good singer that has ever played Phyllis in the past 50 years

I wonder why that is? Is strong singing not considered a prerequisite for the part...

The role was originated by Alexis Smith, and then Lee Remick (apparently a close friend of Sondheim's) was cast in the 1985 concert production in New York - so yes, it's a role where acting skills are clearly considered to be more important than a stellar singing voice.

Having said that, on their respective recordings Alexis Smith and Lee Remick both give very, very fine performances, even though neither has a particularly distinguished singing voice.

And actually, to say Donna Murphy is the only good singer to have played Phyllis in the past fifty years is unfair to Dee Hoty, who has a terrific voice and does a great job as Phyllis on the Paper Mill Playhouse recording. Millicent Martin took over as Phyllis in the original London production; she, also, would seem to contradict the suggestion that Donna Murphy is the only good singer ever to have played the role.

[couldileaveyou]

Nov 7, 2017 18:33:11 GMT sf said:

Nov 7, 2017 17:46:04 GMT distantcousin said:

I wonder why that is? Is strong singing not considered a prerequisite for the part...

The role was originated by Alexis Smith, and then Lee Remick (apparently a close friend of Sondheim's) was cast in the 1985 concert production in New York - so yes, it's a role where acting skills are clearly considered to be more important than a stellar singing voice.

Having said that, on their respective recordings Alexis Smith and Lee Remick both give very, very fine performances, even though neither has a particularly distinguished singing voice.

And actually, to say Donna Murphy is the only good singer to have played Phyllis in the past fifty years is unfair to Dee Hoty, who has a terrific voice and does a great job as Phyllis on the Paper Mill Playhouse recording. Millicent Martin took over as Phyllis in the original London production; she, also, would seem to contradict the suggestion that Donna Murphy is the only good singer ever to have played the role.

Have you ever heard clips of Millicent Martin singing Follies? It's not an experience I would recommend... Jan Maxwell was very good too.

[sf]

Nov 7, 2017 18:19:13 GMT @kevinuk said:

Any thoughts on which is the best cast recording?

None of them are perfect. The original Broadway cast album is definitive but incomplete. Every other recording has at least one serious strike against it, although they also all have their good points.

The London album represents a rewritten version of the show that isn't nearly as effective, but Julia McKenzie's Sally is so good that it's a must-have despite the many shortcomings elsewhere.

The most recent Broadway album has a superb orchestra, but it also has Bernadette Peters's unpleasant, untalented, unmusical assault on the role of Sally, a Phyllis who gets too angry too early and is left with nowhere to go, and a Ben who redefines the phrase "stuffed shirt". Danny Burstein's Buddy is just about perfect, and head and shoulders above everybody else in this cast - but yes, in case I hadn't reinforced the point enough, Peters really is that bad (Imelda Staunton doesn't have the most appropriate voice for the role either, but she doesn't perpetrate anything as downright ugly as what Peters does with the end of 'Too Many Mornings').

The 1985 concert album has a glorious Sally in the late, great Barbara Cook, a stack of excellent supporting performances, and Mandy Patinkin at his most excruciatingly self-indulgent.

The Paper Mill has the best-sung Phyllis on record from the wonderful Dee Hoty, but the rest of the performances on it don't quite reach the standards of the leads on the original Broadway or London recordings. That said, this recording probably has the fewest negatives. It also has an appendix of songs cut from the score, and that's worth having; some of them are very good indeed.

I'd want more than one - but if you can only have one, go for the original even though it's incomplete. If you must have a complete recording, the second choice would be the Paper Mill album.