Beto O'Rourke DID NOT Like the Will Rogers Follies Back in 1991

[ScottyDoesn'tKnow2]

Posted: 10/2/18 at 12:18pm

Beto O'Rourke recently issued an apology for the demeaning way he wrote about the women in The Will Rogers Follies in a review he wrote of the show in the Columbia Daily Spectatorback in 1991. He recognized that at the time he the youngest person in attendance by some 60 years who attended the show. He did recognize that those from the older generation seemed to be having a great time. He still says he found the show "revolting".

https://www.broadwayworld.com/article/Senate-Candidate-Beto-ORourke-Apologizes-for-Demeaning-Broadway-Review-from-1991-20181002

In 1991, a nineteen year-old Beto O'Rourke wrote a theatre review for a Broadway show- The Will Rogers Follies. The review has recently come to light, and the Texas Senate candidate has a lot to answer for. The review in the October 10, 1991 edition of the Columbia Daily Spectator reads:

The Will Rogers Follies" is one of the most glaring examples of the sickening excesses and moral degradations of our culture. The production, done in the ostentatious Ziegfield tradition, is little more than one boring, pointless song and dance number after another... Keith Carradine in the lead role is surrounded by perma-smile actresses whose only qualifications seem to be their: phenomenally large breasts and tight buttocks."

[RJ14]

Posted: 10/2/18 at 12:32pm

That man is not only smart but actually has taste? Texans better vote him in

[GoblinKing2]

Posted: 10/2/18 at 12:52pm

Wow, he was a smug, obnoxious 19 year old boy.  Guess that's the end of his political future.    

[msmp]

Posted: 10/2/18 at 2:00pm

Wrong to use sexist/demeaning language, but right that TWRF was Bad.

[JSquared2]

Posted: 10/2/18 at 2:11pm

GoblinKing2 said: "Wow, he was a smug,obnoxious 19 year old boy. Guess that's the end of his political future."

Yeah --- if only he'd have also said he wanted to grab 'em by the p*ssy -- he coulda been President!

[UncleCharlie]

Posted: 10/2/18 at 5:28pm

He had a problem with "phenomenally large breasts and tight buttocks"? #NotMySenator

[7thbighero]

Posted: 10/2/18 at 5:57pm

Considering it robbed OOTI for Best Musical, there is a lot to hate about it.

 

glad he’s owning his questionable language though. Texas, don’t let him get away, he’s a keeper!

[henrikegerman]

Posted: 10/2/18 at 6:08pm

Hmmmm, Ted Cruz is looking a little bit better.

NOT.

[jpbran]

Posted: 10/2/18 at 6:25pm

Still not understanding this ding: "...moral degradations of our culture."

The hell? Isn't it an old-fashioned made-for-the-seniors type show? 

[Huss417]

Posted: 10/2/18 at 6:57pm

I thought Will Rogers Follies was the weakest of all Best Musical nominees that year. And I did see all four nominees.

[greensgreens]

Posted: 10/3/18 at 11:37am

No, we should hate Will Rogers Follies because it's nothing more than a footnote in history and stole the prize from MISS SAIGON. When it finally found it's home in Branson, I felt vindicated.

[IdinaBellFoster]

Posted: 10/3/18 at 11:45am

Looking back at the year, it does sound absurd that THE WILL ROGERS FOLLIES beat MISS SAIGON, ONCE ON THIS ISLAND, and THE SECRET GARDEN. 

[darquegk]

Posted: 10/3/18 at 12:08pm

He's describing moral degradation from a Marxist perspective, not a Protestant one. The old fashioned frivolity, expensive but uninteresting sets and costumes, overall sociopolitical meaninglessness and cheap sexualization of women would be offensive to a socialist/communist theorist, but look like "generic old Broadway" to a person not operating in that specific ideological framework.

[raddersons]

Posted: 10/3/18 at 12:14pm

darquegk said: "He's describing moral degradation from a Marxist perspective, not a Protestant one. The old fashioned frivolity, expensive but uninteresting sets and costumes, overall sociopolitical meaninglessness and cheap sexualization of women would be offensive to a socialist/communist theorist, but look like "generic old Broadway" to a person not operating in that specific ideological framework."

Came here to say this. It's bizarre he's getting heat for this, when basically he's saying "these woman are treated like nothing more than their body parts". 

[GavestonPS]

Posted: 10/3/18 at 12:17pm

I hope you are right, darquegk. When a Texan refers to "moral degradations", I get nervous.

But I have no idea why he apologized. To me, he seems to be saying there was so little going on in the show that the only reason to cast young women was for their looks. That observation isn't sexist, per se; it might even be feminist.

Personally, I'm amazed he went to the theater at all. I attended Columbia not quite a decade before him and, trust me, getting somebody from the SPECTATOR to come and review a show was like pulling teeth.

[henrikegerman]

Posted: 10/3/18 at 1:28pm

Completely agree with Gaveston that he was in no sense being sexist.

He, like so many others, might be reasonably seen as confusing a show's lack of "significance" with a lack of merit. 

A long time ago I found truth in something Pauline Kael often reminded her readers of.  She persuaded many, including myself, that  "significance"/"seriousness" and merit shouldn't be confused.  That "high art" ranges from the sublime to the vile - and every stop in between.  And much the same can be said of the middle brow and the low.

I still love Beto.  

But IMHO, judging each of the shows of that season on its own terms, WRF was the most artistically successful. 

Updated On: 10/3/18 at 01:28 PM

[ggersten]

Posted: 10/3/18 at 1:38pm

"But IMHO, judging each of the shows of that season on its own terms, WRF was the most artistically successful."

'Dem's fighting words, sir!

 

[SonofRobbieJ]

Posted: 10/3/18 at 3:43pm

ggersten said: ""But IMHO, judging each of the shows of that season on its own terms, WRF was the most artistically successful."

'Dem's fighting words, sir!"

Imma get a pitchfork!

 

[ScottyDoesn'tKnow2]

Posted: 10/3/18 at 8:05pm

Can we have a big debate about whether WRF was the most artistically successful show that season?

Did anybody ever see Shogun? I wonder how June Angela was.

[WayTooBroadway]

Posted: 10/3/18 at 8:09pm

How about debating about these shows OUTSIDE of this thread? Or change the title if the OP wishes to change that direction.

[ScottyDoesn'tKnow2]

Posted: 10/3/18 at 8:19pm

No.

Updated On: 10/3/18 at 08:19 PM

[Mister Matt]

Posted: 10/4/18 at 11:28am

How about debating about these shows OUTSIDE of this thread? 

Discussing how a 19 year-old "crtitic" didn't really understand a Broadway musical isn't as interesting.  It was a very strong season and all four nominees were worthy of the top prize.  Will Rogers Follies was an ingenious show and its concept was brilliantly executed by a dream team of Broadway legends: Tommy Tune, Cy Coleman, Betty Comden & Adolph Green, Peter Stone, Tony Walton, Willa Kim and Jules Fisher.  It managed to be both new and nostalgic, offering a dazzling glimpse into Broadway history that most of the audience never had the opportunity to experience.  It was funny and touching with a catchy score that sounded fresh with just enough pastiche to evoke the era, knockout performances, and it was visually stunning.

I actually loved all four shows pretty equally, but to me, Will Rogers Follies winning Best Musical wasn't really that surprising.  Miss Saigon was steeped in controversy (though the star caught in the center of the controversy still managed to win the Tony) while critics were calling for an end to the era of the 80s megamusicals (and criticizing the lyrics).  Resentment of British imports had crept in and with the exception of Sunset Boulevard winning somewhat by default in 1995, we wouldn't see another British musical take the top prize again until 2009 with Billy Elliot (and no other since).  Once on This Island was "the little show that could", a small and sparsely staged Off-Broadway charmer that that got lost in its Broadway transfer amid a sea of spectacle and juggernaut hits.  The Secret Garden mostly charmed critics but struggled to find an audience by darkening a children's story to a point that it couldn't neatly fit into an easily identifiable pre-fab category that would attract tourists and casual theatre-goers.

The closest we've had vying for Best Musical since then was probably 2005 with Spamalot, Scoundrels, Piazza and Spelling Bee.

Updated On: 10/4/18 at 11:28 AM