Anyone going to the first preview of FOLLIES? — Page 9

I'm an infrequent poster here but an active lurker, particularly on Sondheim-related threads. I'm 47, so young compared to some and most definitely old compared to others.

For me, it doesn't matter when you were born or what iterations of a show you got to see. I appreciate the insights of anyone who love theatre and has experienced the magic it can generate.

What I do find wearisome is when individuals seem to feel the need to stress the superiority of one production over another to the exclusion of what others find valuable about other stagings. I don't think theatre is an either/or proposition: Bernadette or Patti as Gypsy, Lansbury or Stritch as Armfeldt. It's an AND. We get to experience all the pros and cons of individual productions, individual performances, and individual interpretations. I just don't see the value in trying to win what is most definitely not a head to head competition.

One of my first Broadway experiences was seeing Sunday in the Park with George (what a way to begin, huh?). It was magical and at the time felt like pure perfection, something that no longer holds true when I watch it on DVD. I've seen multiple productions since, including the most recent revival, the Kennedy Center Sondheim Celebration, and community theatre productions done on a shoestring. Yes I make comparisons and debate the artistic merits of choices made in each production, but not to assert any one of them as the definitive version for all time. Quite honestly, I'm deeply appreciative anytime that great works of art get performed and I'm blessed enough to see them live. Even a terrible production can't completely obliterate the genius in some of our favorite works.

One of my favorite quotes (which I try to keep in mind when reading these discussions) comes form the author Margaret Wheatley: "We do no have to let go of what we believe, but we do need to be curious about what someone else believes." So here's to less strident defense of any individual opinion as universal truth and to more inquiry into others who see things differently from us and what we might learn from what they appreciate.

Updated On: 8/20/11 at 02:23 AM

Hats off to you, sir. Blunt and to the point. have a blue ribbon.

Re Ghostly door-closing: I believe the upstage door that everyone enters through, does not go right out to the street, because, based on McLane's set design, that's the back wall of the stage and they were headed to an exit, but the upstage door was not the street entrance or stage door.

If you really want to get down to the minute details, Ron Raines points offstage right, and sings "That's where the keys hung/and that's where you picked up your mail" which is usually, right next to the performer's entrance/stage door.

There is a difference between having a discussion and needing to prove you are right.

Ah. The secret to life is understanding this difference.

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My theater has a door in that spot...it leads to the set shop and props room.

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Rumors are circulating that there will indeed be a cast recording.
Let's hope Mrs. Goldman doesn't ban dialogue this time.

Updated On: 8/20/11 at 08:07 PM

*crosses fingers* Loveland, Loveland, Loveland, Loveland, LOVELAND!!!

Nope. Same as DC.

I'm sorry to say that I thought EP's American dialect was...what?...spotty. She sound like, well, a Brit doing an American dialect. The short a vowel as in "all" is not her strong suit.

"I saw the current production and thought it was amazing. I don't know if the original production was better and quite frankly, I couldn't give any less of a sh*t - I saw Bernadette live for the first time in my life. I saw a great production of a great show. I had a grand theatrical experience. For me, that's all that matters."

Sums up exactly how I feel.

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On the other hand, I found Maxwell giving the audience a calculated performance, she gave them what they were asking for. It worked in the moment, but my jaw literally dropped at the 60+ legend who still explores her craft. Amazing.

I totally agree! It's thrilling to watch Bernadette explore the dark aspects of this complex character.

Interesting idea. Have it go Buddy, Phyllis, Ben, Sally.

You wouldn't need the unsatisfying chaos-dissolve of Loveland back to the theater in the morning. Sally song could end and dawn could come up.

Would you have Ben still break down in the middle of "Live, Laugh, Love"? Or would you ask Mr. Sondheim to complete the unfinished song?

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