FOLLIES - Anything is Possible

I just finished reading this book by Ted Chapin. He was an acquaintance of Sondheim and Prince through his family and was given a job as a "gofer" for the original production of "Follies."

He kept a journal as part of a college project and has finally organized it into a book all these years later.

I loved the book. It is a great account of a musical "out of town" back in the 1970's with good portraits of Prince, Sondheim, and Michael Bennett and the stars.

Lots of great photos. If you are interested in theatre at all, I think you would like it. If you a FOLLIES fan, it is a must!

Updated On: 10/16/03 at 08:39 AM

A journal of ones experience with Follies?

Perhaps I have been wrong about Miss Juliana's diary. However, I shudder to think (and rather doubt) that it, too, will become part of the literature of 21st century American musical theater.

z

It is a great book. I couldn't put it down. I've read reviews that call it the best theater book since The Season.

William Goldman.

I read somewhere that one of Bennett’s big obstacles in rehearsing FOLLIES was the age of his cast. Ethel Shutta would do “Broadway Baby” once in rehearsal, and then sit down, thinking she was finished. She was about 80, I think. Yvonne DeCarlo couldn’t remember a dance step from one day to the next. Probably had problems with Fifi D’Orsay, too.

Most of the Follies principals, on stage and off, come off well and I think that can be traced to Hal Prince. He acted like a pro during a very difficult gestation. He does not come off like a screamer or a nasty soul at all, but a calm, reasoned and especially smart ship's captain. Someone who was in charge and who got everyone on the same wavelength.

Fifi it seems, could barely remember how her name was spelled much less lyrics, complicated choreography or where her entrances were. How much of this was a ploy, dear reader, is up to us. Most of the actors worked very hard and really thought about what they were doing. Ethel Shutta comes across as an old pro who brooked no crap, knew her lines and blocking and knew to show up and stop the show every performance.

During the run of the show the woman who played Old Vanessa often subbed in Who's That Woman? because the other ladies often didn't have the stamina to turn it out 8 times a week.

Boris Aronson's two rules (in a heavy Russian accent):
1 - "Every show has a wictim."
2 - "Don't be the wictim."

The book is a must for us all. So little time and so much to learn.

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Is there anything in the book about the tour that starred Vivian Blaine & Lynn Bari?

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TxTwo Step, did you see the Houston production with Juliet Prowse, Marilyn Maye, Harvey Evans, Patrice Munsel, Licia Albanese and John Cullum? I did and loved it. I thought Cullum was brilliant. I didn't know there was another one. When was that and who was in it other than Berry? Was it staged by the same people?

Oh yes, I'd love for HBO to do a film of FOLLIES. I was hoping that with Rob Marshall's success as a film director he might want to try amd make film of FOLLIES. I think it would have to be made for HBO. I don't think it's "hot" enough for Miramax to do a big push like they did for CHICAGO. Now who would you cast in a FOLLIES film?

i love that idea, ROXY! and TPDC i did not see that production but have heard the anecdotes about it. That same place here in Houston has done the show at least twice, maybe three times. i hope they do it again soon!

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I also would like to see a first-class cable or PBS production of FOLLIES. There's a problem, however -- all of the "golden age" stars that really fit the roles are dying off! Because, despite protestations that are sure to resound, one of the great draws of productions of FOLLIES is to see folks like Ann Miller, Joan Roberts, Marge Champion, etc. Who would we cast in the show now? Bonnie Franklin? Suzanne Pleshette? Cindy Williams? Ann B. Davis? Florence Henderson? (Actually, if Florence Henderson could still sing, she'd be an interesting choice.)