Anyone going to the first preview of FOLLIES? - Page 6

[jv92]

Posted: 8/14/11 at 12:13am

Went again this afternoon and thought it was even better than last Sunday, though the audience reaction at the beginning wasn't as enthusiastic. By the end though, everyone was standing and cheering. Truly a great production.

And Elaine Paige got much better. I was pleased.

[ljay889]

Posted: 8/14/11 at 12:19am

Forgot to mention this:

The production now seems much more "in you face" than it did in DC. There is a lot more intensity, and the entire productions feels more powerful. I think some of it has to do with Raines' breakdown being more effective now.
Updated On: 8/14/11 at 12:19 AM

[wickedfan]

Posted: 8/14/11 at 1:13am

Saw it tonight as well.

Highlights:
-Bernadette Peters, Jan Maxwell and Danny Burstein are all WONDERFUL. I thought Burstein gave a really subdued and terrific performance as Buddy. Wasn't expecting to love him as much as I did. There's definitely a Tony nom in his future for this. Whether he wins depends on how the competition fares out during the season. Bernadette was Bernadette. Heartbreaking and mesmerizing all at once. Her entrance is beautiful and certainly brought a tear to my eye. I must also say that this is the most subdued I've seen her, as well. I'm surprised to hear that you didn't like her singing, suttonfoster. I thought her singing was quite good. Especially during "Too Many Mornings." There's not much I can say about Maxwell that hasn't already been said. I must say that she was probably the most likable Phyllis I've ever seen. It was a nice change. What I think all three have in common is that they are all HUMANS on that stage. No shtick, no scenery chewing, no nothing. What makes them all great performances is that they don't feel like performances. I don't like watching a performance and thinking to myself "Wow, she is really ACTING there." That doesn't impress me. What impresses me is when I forget that it's acting and I just see someone BEING on stage. That is the definition of a remarkable performance.

-Raines was very good, but not great. His breakdown is terrific, but some of his scene work leaves a bit to be desired, most specifically with Maxwell, who acts circles around him. His singing is great and his work with Bernadette is quite good, but he just isn't quite THERE for me. Not yet, anyway.

-Supporting cast was excellent. Paige remembered every lyric and brought down the house (overall an EXTREMELY enthusiastic audience). She was sassy, strong, and glamorous. A true star. Jane Houdyshell, Mary Beth Peil (who looks STUN-NING), and Terri White were all lovely, with Houdyshell tearing into "Broadway Baby" with the kind of vigor you rarely see (all three, as well, brought down the house).

-Greg Barnes' costumes are beautiful and lots of great detail added, such as Buddy's suit being a little shinier and more like plastic than the other men's, due to the fact that it is probably rented; Sally's dress not quite fitting her; the cool purple of the chorus' costumes during "Live, Laugh, Love" to emphasize the sly coolness of the number. There is one major exception to the costumes, which I will get to.

-The lighting is also stunning. Natasha Katz has outdone herself with this show. Probably her best work since Tarzan (laugh if you want, but if you saw it, you'd know that Katz's lighting was a shining highlight of a dim show).

-Best staged/choreographed numbers were the "Opening/Beautiful Girls", "Broadway Baby/Medley", the majority of "Who's That Woman", "Buddy's Blues", and "Live, Laugh, Love." I'd say that "Buddy's Blues" is the best staged number of the show. Warren Carlyle gets it exactly right and Burstein (along with the two lovely actresses) really knock it out of the park. I really enjoyed the crispness of "Live, Laugh, Love" and its simplicity (nearly Fosse-esque). "Who's That Woman" starts off great and ends on a high note, but has a little bit of muddiness in the middle. I think that there's not enough of the ghosts in the number (they started coming in one by one and then disappeared while Terri White did her tap solo. A bit anti-climactic for me) and there was no need for the silver streamers.

Some issues:
-"Lucy and Jessie." This is the number that is going to cost Jan Maxwell the Tony. Part of it is Warren Carlyle, part of it is Greg Barnes and part of it is Maxwell herself. Barnes' new costume for Maxwell (basically her DC outfit plus skin colored sleeves) is not very flattering. It doesn't quite fit her and the sleeves look baggy at times. Caryle has altered the choreography so that the entire thing frames Maxwell. The chorus boys still do a great deal, but it's all AROUND Maxwell, with her always the focus (Katz's lighting always ensures that you're looking at her). However, even with this, the number doesn't work and that's because of Maxwell. She sings and acts the hell out of it, but she just can't move. She doesn't OWN any actions she makes and she just isn't at home with any of the movement. "Ah But Underneath" would have been more fitting for Maxwell, but I understand the desire to do "Lucy and Jessie." It just is more exciting and gives you a bigger high, as was evidenced by the applause for the number. Despite it not quite working, the audience still went wild.

-"You're Gonna Love Tomorrow/Love Will See Us Through." This just does not work. The actors playing the younger counterparts are all very talented and charming, but the number just never takes off. First of all, I don't think it works if you have the characters fully aware of the problems addressed in the number (most specifically Buddy and Sally). When they sing they may "burn the toast" or "vex your folks," the characters should smile naively, shrug it off and sing with conviction that "Love Will See Us Through." They should not uncertainly sing of these problems and still with trepidation sing "Love Will See Us Through." We should know that there are problems ahead. They should not. Also, Carlyle's choreography is cute but it just doesn't GO anywhere, which is odd because he does such a wonderful job with the opening, "Buddy's Blues" and "Live Laugh Love."

-Ghosts interactions. I think it was PalJoey who said that the party guests should see the ghosts and not see them throughout the night. There are moments in the show when the guests should be confronted of what they were and what they are by the presence of their ghost. This is totally true. What Schaeffer does, to some effect, is when a memory happens with the younger ghosts, the lighting shifts so that there's a pinpoint on the guest while the actions happens behind them, as if they are recollecting through hearing rather than through seeing. It works some times, not for others. Also, he makes the ghosts living beings, rather than ideas. When their older counterparts come in, each ghost recognizes them and tries to connect with them, much to the older counterpart's obliviousness. It should really be the opposite.

Overall, I must say that this is a near-great production. Is it perfect? Of course not, but perfection and greatness don't always go hand in hand. Greatness is that tidal wave of excitement, emotion and unexplainable wonderment that comes over you. This production has many moments of said greatness and while it has its speed bumps, it's quite a thrilling ride. I'm sure it will get even better by the time it opens, though I don't expect "Lucy and Jessie" or "Love Will See Us Through" to get any major changes. Oh well, the good far outweighs the bad in this case. I very much look forward to going again a few months from now and enjoy how much this production has grown.

The good news? FOLLIES is back. In a totally worthy revival.

[wickedfan]

Posted: 8/14/11 at 1:18am

Oh and also one more comment: The line about Sally attempting suicide in the past was out. Don't know if Schaeffer cut it or if Bernadette merely forgot (she seemed to be deeply emotional at that moment), but it was gone.

Also: it was a bit of a kick for me to look up on that stage and see the original Kim in Bye Bye Birdie (the effervescent Susan Watson), two Evita's (Florence Lacey and Elaine Paige...do you think they bonded over it?) and the reigning queen of Sondheim (Bernadette), dancing side by side with the up and coming singer/dancer/actresses of tomorrow. A moment that truly reflects the theme of FOLLIES.

[miss pennywise]

Posted: 8/14/11 at 1:27am

Elaine Paige and Florence Lacey were both also "Norma Desmonds."

[CurtainPullDowner]

Posted: 8/14/11 at 1:51am

Well put WickedFan.
One reason YOU'RE GONNA LOVE etc. didn't work for me is the director and costume designer don't seem to realize it's a FOLLIES number, they should be in some kind of costumes and less interchangeable.
I don't know how to say this kindly, but I agree about Carlyle costing Maxwell her TONY. Her looks and body-type work against her also. She is a handsome woman but not the beauty Ben would have chosen over all the girls upstairs.
She hits all the acting spot on but physically she just misses.
Updated On: 8/14/11 at 01:51 AM

[somethingwicked]

Posted: 8/14/11 at 2:07am

I also think part of the problem with this "Lucy and Jessie" that I haven't seen mentioned is the orchestration of the song. They would have been much better off using the version from Encores, where the song picks back up again at the very end after the extended dance break. I remember Donna Murphy saying she and Sondheim discussed how pivotal that moment was for both the number and the character, when Phyllis makes the distinction of saying, "I could tell you someone who could finally feel... I could tell you someone who could finally feel." Still, I agree with the sentiment that "Ah, But Underneath" would have been a much better fit for Maxwell, though I think she could have easily put over "Lucy and Jessie" with more competent staging and choreography. Carlyle's doing her no favors.

In essence, Carlyle's strategy of having the boys do all the work and letting Maxwell just pose around them achieves the opposite of the intended effect. They're setting a bar she can't reach. Again, like at Encores, they would have benefited from paring down the movement of the men in the background and simplifying something that Maxwell could have kept up with in duality with them. Someone hit the nail on the head earlier when they said that, by the time this version of the song is over, you don't feel as if you've learned anything new about Phyllis or her folly, which stands in stark contrast to the emotional revelations presented in the other four songs in the "Loveland" sequence.

One change I absolutely loved for the Broadway production that I never noticed in Washington was Carlotta's ghost slowly entering toward the end of "I'm Still Here," and watching with a look of horror and stunned disbelief as the number came to a close upstage left, near the staircase. It helped make sense of the strangely dramatic, almost "Rose's Turn"-esque breakdown Page has by the time the song's over. I found it to be one of the most haunting moments of the night.

Updated On: 8/14/11 at 02:07 AM

[wickedfan]

Posted: 8/14/11 at 2:34am

In regards to "Lucy and Jessie," I really don't want to put all of the blame on Carlyle. He's definitely improved the numbers from the chorus boy perspective. Before, probably due to Maxwell's limitations, he gave the boys so much to do that they became the focus. Now, everything they do is to frame Maxwell. They're impressive, and Carlyle does some great stuff with them, but they never steal focus (again, Katz really saves the day with that, always having a spot on Maxwell). Where I think Carlyle failed was with his new moves for Maxwell. Whenever she's actually dancing, it's some weird little busy foot work or random arm dancing. That said, I don't know what any choreographer COULD do with Maxwell. She's clearly having the time of her life in the number, but she just doesn't have the gracefulness to make any action she does appear anything but awkward (another conundrum as I recall her being at least passable during "Who's That Woman"). Perhaps Stroman or Nicholaw could have thought of something. But again, when Maxwell makes even strutting look awkward, what's a choreographer to do?

[explorer]

Posted: 8/14/11 at 11:03am

Follies was to open Friday so where are the reviews?

[AC126748]

Posted: 8/14/11 at 11:08am

Follies opens September 12...

[explorer]

Posted: 8/14/11 at 11:57am

You are so correct...what was I thinking!

[henrikegerman]

Posted: 8/14/11 at 12:05pm

Saw it last night. A good production with many plusses, some misfires, but nothing to make me reassess Follies, which I stil find a problematic and disappointing spectacle with a dysfuctional book.

Howdyshell is adorable, commanding and sings Broadway Baby well. It's hard to keep your eyes off her when she's on stage. Jan proves herself a triple threat. I had trouble with Peters, as gutsy a performance as she is giving, and I give her credit for taking such risks. Sadly, I don't think it works. Her unadulterated nuttiness makes Raynes' job, already pushed to the breaking point by the libretto under the best of circumstances, all the more difficult. I believe that Sally is a role that requires lustrous, clear and soaring vocals, and Peters, as much as I always have and will always love her courage and talent, just doesn't have them. "Too Many Mornings" was, for me (why do I constantly feel the need to repeat those words, which should go without saying, on this site?) a disaster.

Kudos to much of the choreography (Lucy and Jessie was a standout), a dazzling Terri White, the staging of the end of Who's That Woman?, Loveland's costumes and rose-feathery red backdrop, and the two actors playing Young Sally and Buddy - Lora Lee Gayer, who uncannily conveys a young Bernadette, and Christian Delcroix, who subtly conjures Burstein's Buddy's voice and persona.

Best of all is Danny, wonderfully endearing, who may very well get a tony for this performance. The paradox is that while Peters's Sally's complete dysfunction makes
Ben's being drawn to her again completely unconvincing, it makes Buddy's helplessness and pathos all the more palatable and his enduring love for her all the more heartbreaking.

And, surprise, surprise! I loved Elaine and her I'm Still Here. She revels in overdramatization, with the over the top finale to the song perfectly in keeping with Carlotta's need for attention and the spotlight.

I think anyone who has not previously seen Follies might have some difficulty understanding the montage numbers, and a great deal of difficulty with "One More Kiss." Elias's voice is in amazing shape, although it has taken on a pseudo-masculine quality, bringing a bizarre whiff of drag to the number. In both cases, the direction fails to bring any clarity to the action when these songs start. This will most likely not cause too much trouble for those familiar with the show; but I can't help thinking that those who are not will be entering wtf-land.

The set worked well for me once lights were called and, as someone mentioned earlier, the environmental treatment gave the Marquis - miracle of miracles - a welcome note of intimacy.

Warts and all, this is a better directed production than Paper Mill's. And a far, far better one than the last Broadway revival (my only fond memory of which is Treat Williams' sweet, unaffected performance as Buddy).

btw, and only btw and for what it's worth, I saw it with a friend, a huge fan of the score, who had never seen the show before. Just FYI, as we walked out, I asked him what he thought of "Follies" as a show. He said, "It's a mess."








Updated On: 8/14/11 at 12:05 PM

[ljay889]

Posted: 8/14/11 at 12:30pm

m. "Too Many Mornings" was, for me (why do I constantly feel the need to repeat those words, which should go without saying, on this site?) a disaster.

I understand that's your opinion, but I definitely disagree. Peters might have some awkward transitions between chest and head voice in that song. But the three times I've seen the production, her soprano has been gorgeous in that number.

[PalJoey]

Posted: 8/14/11 at 1:42pm

That said, I don't know what any choreographer COULD do with Maxwell.

I think Michael Bennett could have, and I think any choreographer who knows how to make a leading lady look like "one singular sensation" could have.

Ron Field and Joe Layton made Lauren Bacall look good in Applause and Woman of the Year.

Onna White made Angela Lansbury look good in Mame.

Gower Champion made Carol Channing look good in Hello, Dolly.

I think Susan Stroman could. I think Casey Nicholaw could. I think Jerry Mitchell could.

It's part of the choreographer's job description. If she can't do steps, don't make her do steps. If her arms look awkward, don't make her do arms. If all else fails, have her strut and show leg. But it's your job to make her look good, Carlyle. DO IT.

[wickedfan]

Posted: 8/14/11 at 4:05pm

Yes, PalJoey, but those ladies you mentioned could all move well. Bacall, Lansbury, and Channing were (if not dancers) very fluid movers. They could at the very least do a step-touch. Maxwell cannot. As I said, she can't even strut. She can barely pose on stage. Carlyle is partly to blame because whenever he DOES have her "dance," it's some strange, minimalist move. The fault there is all on him.

But when he gives Maxwell something as simple as a bevel or a strut, she can't even do that. I mean, she DOES it, but it's so wooden. What do you do when your leading lady can barely walk across the stage in a convincing manner? Yes, I'm sure Bennett would've found some way to make it work. Stroman and Nicholaw might have, as well. But even the basics that you mention (strut, vamp, etc.) are all in the number and Maxwell simply can't do them. In my opinion, it all comes down to that Carlyle, despite his best efforts, wasn't prepared for this kind of obstacle and was kind of thrown under the bus with it.

I don't think it comes down to Carlyle's talents as a choreographer, but rather with his integrity. Bennett never compromised. He worked his actors hard so that they could do what was needed for the number. It was tough and there would be blood, tears and sweat, but he brought them up to the challenge. They would hate him during it, and might still hate him afterward, but in the end they saw that he was right (as evidenced in Everything Was Possible with Who's That Woman and the older actresses). Carlyle, I fear for still being a newly introduced choreographer, didn't use the intense determination that Bennett would've used to get Maxwell where she needed to be.

Or they should've just done "Ah, But Underneath." One or the other.

[somethingwicked]

Posted: 8/14/11 at 4:12pm

wickedfan, I think you're going way overboard with the lengths to which you're describing Maxwell's inabilities. She's far more competent a mover than you're making her out to be. As I said earlier, had she been working with Casey Nicholaw's choreography from Encores, the number would have gone off without a hitch. The fact that the song scores as much as it does with what's being performed is a testament to her talents.

And to say Carlyle "wasn't prepared for the obstacle" and was "thrown under the bus" is absolutely ridiculous. Everyone involved knew Maxwell wasn't the least bit of a dancer when she was cast. Considering the numbers were choreographed for the people performing them, this is an issue that should have been addressed in rehearsal from day one.

Carlyle was in no way saddled with a star that was hampering the process. If anything, Maxwell was stuck with a choreographer incapable of utilizing the abilities she has in place of the ones she doesn't.

Updated On: 8/14/11 at 04:12 PM

[CurtainPullDowner]

Posted: 8/14/11 at 4:21pm

This "issue" should have been discussed before the first rehearsal, LUCY AND JESSIE (or whatever number is used) is so important to Sally's character, and the whole FOLLIES section, that the actress MUST have some of the talent to pull it off.
As brilliant as Maxwell is as an actress, the director and choreographer have to solve the problem with the people they cast. For everyone (and it is most everyone) who says she "nails" it, not putting that number over is on her shoulders everynight and she ain't nailing that number.

[wickedfan]

Posted: 8/14/11 at 4:22pm

I agree and disagree, somethingwicked. It should have been addressed from day one. Perhaps "thrown under the bus" is a bit dramatic in regards to Carlyle. But I think there's a difference between knowing your actress isn't a dancer (he never gave her a step that overly difficult), and actually seeing just exactly what her limitations are. I believe that despite her brilliance in the rest of the show, she simply doesn't have that fluidness that can make her movements effective. I really, truly think that Schaeffer should have just come to terms with the fact that the number wasn't going to work and done "Ah But Underneath."

In regards to her abilities as a mover, I admit that this comes totally from my own point of view. I, personally, thought she couldn't move. My companion, however, didn't think she was wooden or awkward at all. But I was very uncomfortable during the entire number. Not just when she was "dancing." Potato, potahto.

[suttonfoster]

Posted: 8/14/11 at 4:24pm

Saw it tonight. Here are my thoughts and QUESTIONS

This is my first time seeing this show and I am familiar with a lot of the music. The story was a tiny bit confusing to me for some reason so please bare with me.

Bernadette was excellent. Her first entrance was incredible. She really does say so much without ACTUALLY saying anything. Her acting was top notch but I have to say her singing left me a little flat. I think this score is too high for her and although her performance of Loosing My Mind was heartbreaking, it still kinda left me disappointed with how she sung it. My favorite still is a tie between Barbara Cook and Marin Mazzie. (She also took that last note up an octave for some reason and I don't believe it's in the score) Some things were just a hit or miss but she looked gorgeous. QUESTION: I read so many things about Sally being bipolar but she didn't really seem that messed up in the show. She just seemed like she was in love with Ben since they were younger and kind of never gotten over him. If she was THAT unhappy, she would of done something, right? I mean I know that she spent some days in bed, crying...but does that really clarify she was crazy??? If someone could elaborate on this, I would love to hear it.

Jan Maxwell was the standout of all the 4 leads. Is this role considered supporting? She needs a Tony, nonetheless. Leave You was incredible and she got quite the applause after it. Her acting and singing were really great and she really played the part right. You could tell that she was just kind of miserable in her marriage but she still loved Ben, in the end. The choreography of her Loveland performance, I was not crazy about. QUESTION: Do you think she stayed with Ben because she couldn't live her glamorous life without his money? in addition with her true love for him, of course.

Ron Raines really surprised me. He was pretty much perfect. I knew his acting was great but he really sung that score well. QUESTION: I feel like Ben is more mental than Sally. He seems to be cheating on Phil with a bunch of women and telling them the same thing. He seems like an obsessive liar......thoughts on his personality???

Danny Burnstein was great. He seemed a little dull in the first act, but I think that could just be his participation in it. He really shined in the 2nd act and his Loveland performance was the strongest out of all 4. It was a little distracting how young he looked compared to the other 3. Just a thought.

Additional thoughts

Elaine Paige did a great job with I'm Still Here and got a huge applause after. She could dance pretty well for her age, too!

Jayne Houdyshell was another standout and sung Broadway Baby really well.


Rosalind Elias' performance was PERFECTION. Her and her folly blended so well together and got a ton of BRAVO'S from the audience. The last note was truly PERFECT. QUESTION: I don't really get where she came from. Was she a folly or......?

I feel silly for this because I can't remember her name but whoever sings Who's that Woman was the 3rd standout. Amazing.

I thought the 4 younger follies were great. Sally's stood out the most for me, though.

LAST QUESTION: Can someone tell me the director's possible thoughts on the ending. Why did he replay all 4 younger follies about to go out again?


I loved the production and the set and how we felt like we were in the old theatre!! and
Please, if someone can answer my questions about the show, I would love it!

[ljay889]

Posted: 8/14/11 at 6:52pm

Oh and also one more comment: The line about Sally attempting suicide in the past was out. Don't know if Schaeffer cut it or if Bernadette merely forgot (she seemed to be deeply emotional at that moment), but it was gone.

Unfortunately, those lines have never been in this production. I don't think they've been used in a production since the original. It's a shame, but I think Bernadette nails the sadness/hopelessness of the finale, even without those lines.

[ljay889]

Posted: 8/14/11 at 11:14pm

Here is a new interview with Bernadette from Ny Mag.

She's pictured in her new dress, but it looks more purple in this picture than it does on stage.



http://nymag.com/arts/theater/features/bernadette-peters-2011-8/

[CurtainPullDowner]

Posted: 8/14/11 at 11:44pm

I enjoyed that article, but saying Sondheim's song is better than Gershwin's might get some letters to the editor.

I think Peters is the real deal, glad she's back on the boards.

[Phyllis Rogers Stone]

Posted: 8/14/11 at 11:48pm

Okay, I do love that picture.

[aasjb4ever]

Posted: 8/15/11 at 12:04am

They just keep rolling in!

The dress is absolutely marvelous! Much better than in DC.

[CurtainPullDowner]

Posted: 8/15/11 at 12:14am

That dress is wonderful, is her hair different too?