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#101

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:12am

I just loved it tonight. As great as Norm was (and always is), I so badly wanted to hear Kudisch sing “Too Many Mornings”. But hard to find any fault in any of the performances tonight.

And even though she’s a conspiracy theorist friend of Alex Jones, hearing Ebersole sing is always a glorious experience.

#102

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:20am

Delete

Updated On: 6/21/24 at 12:20 AM

#103

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:24am

We came in with low expectations considering the director and the past Nine concert. There were a small handful of decent performances and the orchestra sounded lovely. It was not memorable, directed well (even for a day of concert) and ended up our least favorite concert or production of the show. We wished it was in more capable hands even with little to no rehearsal. Some great talent but messy.

Quite disappointing for our group unfortunately.

#104

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:25am

Ebersole's Buddy's Eyes was as wonderful as you can imagine... so it really wasn't surprising. That's the way I felt halfway into Kate Baldwin's Losing My Mind but then something happened and she switched it up and blew me away!

And I don't just want to concentrate on the women. Alexander Gemignani's simple The Road You Didn't Take was one of my early favorites and the second act had a fantastically sung and danced Michael Bereese Right Girl (does that man age?). And after a triumphant Buddie's Blues, Santino ...you are forgiven for last year's Nine concert.

Updated On: 6/21/24 at 12:25 AM

#105

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:33am

Bereese was visibly moved by the response to his number, it was really touching to see.

#106

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:34am

A touching moment I won’t soon forget: Kurt Peterson turning to Ted Chaplin and giving him a subtle nod and smile when the lyric, “everything was possible” was sung.

#107

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:47am

With this cast and my obstructed view seats I was just going to listen to these wonderful talents sing. I had a great time and the staging was what I expected for a one night thing.

Stellar talents like others have said, Ebersole is sublime, Beth Leavel is a gem and so quick with her mix mishap. Baldwins voice is so clear and a great interpretation of the song. Miss Holiday brought down the house.

I will say this, Karen Ziemba has and always will be so effortlessly charming. A consummate performer.

Only actor who got shafted in my opinion tonight was Carolee. Such an odd song to put a name like her in.

Then men were great of course.

"I think lying to children is really important, it sets them off on the right track" -Sherie Rene Scott-

#108

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:52am

I enjoyed it a great deal without quite loving it, though I'm not sure why. The earlier comment about the direction may have had something to do with it. The pacing and flow seemed off, or something.

I have to give Kate Baldwin credit. I wasn't particularly excited when she was announced; nothing against her, she's just not someone I think of as a big name, even as a two-time Tony nominee. But she gave my favorite performance of the night. I thought her "Losing My Mind" was extraordinary, both as sung and acted. I really wanted to give her a standing ovation, but no one else did, so I stayed in my seat.

I did jump up with everyone after Holliday sang. I'm sure purists will object to some of her phrasing and some of the liberties she took with the song (and there were a few moments I was iffy on it). But she definitely put her stamp on the song and made it her own, and she earned the O.

Michael Berresse--also wonderful and terrific to watch (and still so handsome).

Norm Lewis and Nikki Renee Daniels--great. The "Who's That Woman" number was fun. (I did think Ebersole was quite good, but the thing Jordan mentioned is something that always comes to mind for me now, and it did temper my enjoyment.)

I did wonder if Kurt Peterson was intended to sing "Live Laugh Love" originally, or if that would have been Cariou's number. Or if Cariou would have been Weissman. I was thrilled to see Hal Linden as a surprise guest as the latter. Got the evening off to an exciting start.

Updated On: 6/21/24 at 12:52 AM

#109

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:57am

The orchestra sounded wonderful, even when the poor violinists had to play at the extreme top of their range in Kate Baldwin’s very high key of “Losing My Mind.” It was a highlight to hear the original orchestrations live.

Carnegie Hall’s acoustics aren’t made for anything requiring amplification, so it was hard to hear clearly in the balcony. Even the simple host banter or the announcements of who sang what was difficult to understand. If someone didn’t know the plot of the show, they would not have been able to follow along (this was just a concert of the songs with Ted and Kurt providing patter between the numbers).

Given the list of performers, I was horrible at guessing who would be singing which songs. I thought Carolee would sing “In Buddy’s Eyes” or “Losing My Mind.” I thought Marc Kudisch would sing…anything. Ah well.

I selfishly want to see these wonderful performers performing in more things; they’re all still good and deserve juicy roles and songs. I want to give Tonys to the Tony-less like Carolee and Marc and Norm and Kate and Nikki and Michael. It wasn’t a perfect night, but it was a pleasure to see this talented roster perform.

#110

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 12:59am

Jordan Catalano said: "I just loved it tonight. As great as Norm was (and always is), I so badly wanted to hear Kudisch sing “Too Many Mornings”. But hard to find any fault in any of the performances tonight.

And even though she’s a conspiracy theorist friend of Alex Jones, hearing Ebersole sing is always a glorious experience."

Yikes! The frogs guy? Ummmm.....

I figured from your earlier post Jordan that you too were a bit let down.

With all this talk of Merrily getting filmed this week I have to ask....was the Bernadette/Jan/Elaine/Ron/Danny revival filmed 12 years ago? It was a terrific show.

#111

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 1:02am

I don't know if it's just where I was sitting (dress circle center), but I thought the orchestra was pretty rough at times. Some of the soloists sounded a little weak, there were songs when they seemed almost completely off the beat from the singer, and a certain lack of fullness, especially when the orchestration was less sparse. I don't know if it was the acoustics, the conductor, or lack of rehearsal time, but something seemed a bit off.

That said, there were some AMAZING performances. Standouts to me were Christine Ebersole, Karen Ziemba and everyone in Who's That Woman, Jennifer Holliday, Norm Lewis/Nikki Renee Daniels, Harolyn Blackwell and Mikaela Bennett, Santino Fontana, Kate Baldwin, and Kurt Peterson (I audibly gasped when he said he'd be performing Live Laugh Love).

I liked Ted Chapin and Kurt Peterson as hosts, but I wish there were a few more anecdotes about the original production (though I enjoyed the one about the former Greer Garson lyric). I was also expecting Michele Pawk to be getting her own song instead of just being in the dance ensemble for Who's That Woman, but ah well. I'm assuming Kate Baldwin and Beth Leavel replaced Rachel Bay Jones and Donna Murphy, respectively, and while it would've been wonderful to see their take on the songs, I'm not all that mad about what we did get.

All in all a very worthy concert experience (especially considering the very reasonable ticket prices!) and I'm so glad I came.

#112

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 1:34am

Who’s That Woman was worth the price of admission and everything! The original choreography is genius and encapsulates the whole show. It’s astounding - like the Fosse project of preserving choreography- this choreo needs to be preserved. It tells the story AND feels truthful in how the older woman dance it themselves and with their younger selves. It’s shticky and Broadway and vaudevillian and folliesesque and contemporary. All the dancers were amazing! I leapt to my feet.

I thought the most unfortunate parts of the night were the endings to most of the big female/group numbers. I LOVED what Jennifer Holliday was doing throughout I’m Still Here and actually found it so staggeringly appropriate and restrained - I was so impressed. But, for the last bits of belted lyrics, I actually couldn’t hear her. And I think she was singing some amazing/notes and riffs. Same for the amazing Adrienne Lennox who I always love to hear sing. As well as for the glorious renditions of Beautiful Girls and You’re Gonna Love Tomorrow/Love Will See Us Through.

the other highlight for me was Christine Ebersole - a pitch perfect performance. Kate Baldwin was excellent, as was Marc Kudisch, and a lot of Norm Lewis. Michael Berresse’s whole performance was so completely thrilling as well.

Carolee Carmello’s belted “fussing around with our HAIR” was thrillingly wrong haha. And Beth Leveal was screaming her way through.

I thought Kurt Peterson’s Live, Laugh, and Love was such a perfect honor and i had goosebumps throughout his recreation and tribute to John McMartin and the show.

I wonder what they were planning for Donna Murphy? Might we have gotten to see the OG choreography for Lucy and Jessie? THAT would have been a cherry- and something I’d like to see eventually (doesn’t have to be Donna Murphy dancing it, although I wouldn’t complain if it was!).

#113

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 1:38am

E.Davis said: "Only actor who got shafted in my opinion tonight was Carolee. Such an odd song to put a name like her in."

Take with a grain of salt because show folk love to talk out their asses, but:

I overheard someone explaining afterwards that the intention was for "Waiting for the Girls" to be a FALSETTOS OBC reunion but could not secure Chip Zien or Michael Rupert to sing Buddy so they hired Thom Sesma.

Carolee, Barbara Walsh, and Stephen Bogardus were all in the OBC of Falsettos; Walsh is married to Jack Cummings, the AD of Transport Group; Carolee is friends with a lot of these people and probably glad to do them a favor.

Updated On: 6/21/24 at 01:38 AM

#114

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 1:57am

Thhn said: "I wonder what they were planning for Donna Murphy? Might we have gotten to see the OG choreography for Lucy and Jessie? THAT would have been a cherry- and something I’d like to see eventually (doesn’t have to be Donna Murphy dancing it, although I wouldn’t complain if it was!)."

Going by press release #2 (which announced Leavel/Kudisch/Kate Baldwin, and announced the dropouts of Murphy/Norbert/Rachel Bay Jones), I assume Donna would have been doing Could I Leave You? And if that's the case, I'm fine that we didn't get that for the umpteenth time. Nice to see new interpretations.

Though perhaps there was some internal switching around for Santino after Norbert dropped, because Norbert doing Buddy's Blues would kill.

We'll never know!

#115

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 8:54am

chrishuyen said: "I don't know if it's just where I was sitting (dress circle center), but I thought the orchestra was pretty rough at times. Some of the soloists sounded a little weak, there were songs when they seemed almost completely off the beat from the singer, and a certain lack of fullness, especially when the orchestration was less sparse. I don't know if it was the acoustics, the conductor, or lack of rehearsal time, but something seemed a bit off.

Yes, off the beat, too loud and I guess I’d say poor conducting because at times one section of the orchestra drowned out others.

I'm assuming Kate Baldwin and Beth Leavel replaced Rachel Bay Jones and Donna Murphy, respectively, and while it would've been wonderful to see their take on the songs, I'm not all that mad about what we did get.

I didn’t realize Murphy had dropped out. Her Could I leave You is the best rendition I’ve ever heard. Beth Leavel — well, it was over the top rather than just seething.

#116

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 10:22am

This piece, as fantastic as it is, lends itself easily to camp. I didn't mind Beth leaning into that, she is camp herself. I quite enjoyed her unhinged performance.

#117

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:06am

I'm generally hot and cold on Beth Leavel and think she really needs good direction to succeed and there's a fine line between her voice being thrilling vs grating. She didn't work for me here, but I appreciated seeing a new, different interpretation of the song, and she was obviously thrown off by the mic situation which she turned into a comedic bit prior to the song. It's tough to go from schtick to Divorce Song.

She, like Alexandra Billings, was done no favors by the song key. Both songs felt like they sat in their break.

Updated On: 6/21/24 at 11:06 AM

#118

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:12am

I agree with others that Beth Leavel's performance of COULD I LEAVE YOU was completely unhinged! Phyllis should start her rage level at around a 2 or 3 and end up at 10. Leavel started at 10 and went up to 30!! I also thought that while she was in good voice, it was sort of odd how much they slowed down the tempo of I'M STILL HERE for Holliday. That was certainly the slowest rendition I have ever seen. MVPs were Karen Ziemba and the WHO''S THAT WOMAN team (especially Mamie Duncan Gibbs!), Michael Berresse, Santino Fontana, Kate Baldwin, Norm Lewis and Nikki Renee Daniels, and so many others! Wonderful evening.

#119

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:21am

They dropped the ball in the first five minutes when they didn't perform the entire original overture.

#120

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:23am

It’s interesting, I did not hear those inconsistencies in the orchestra from the balcony. The balcony is better for acoustics in that sense, forgiving all of those flubs because the sound rings around us without the cut of an overhang. I did not notice the orchestra being off from the singers.

#121

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:26am

My favorite part was Barbara Walsh singing “Waiting downstairs for the boys downstairs / daring as long as we dare” while Carolee standing next to her, had a huge nervous smile on her face.

#122

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:29am

I loved the evening, but the orchestra was a problem. Off beat, too loud, too loud, too loud, and sloppy. That’s ultimately the conductor’s fault - and whoever was helping with the sound check during rehearsal. Sad not to have had them play those gorgeous orchestrations with more skill and finesse.

Despite that, the evening was a Wow with some stunning performances, touching moments, and a hall filled with an audience who love and celebrate this show!

One call out for someone who has not yet been named in this thread: Christian Mark Gibbs delivered a gorgeous “Beautiiful Girls”, which set up the evening of performances perfectly.

A special evening!

"Two drifters off to see the world. There's such a lot of world to see. . ."

Updated On: 6/21/24 at 11:29 AM

#123

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:41am

Jordan Catalano said: "My favorite part was Barbara Walsh singing “Waiting downstairs for the boys downstairs / daring as long as we dare” while Carolee standing next to her, had a huge nervous smile on her face."

The way I tensed up. Follies is not easy to sing, even with plenty of rehearsal. I was white-knuckling during Lucy and Jessie.

#124

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:44am

TotallyEffed said: "This piece, as fantastic as it is, lends itself easily to camp. I didn't mind Beth leaning into that, she is camp herself. I quite enjoyed her unhinged performance."

Ooooh, Mary, I could talk about the intricacies of this song FOREVER. It's a high wire act of chilly aloofness and roiling fury and the music tells you exactly where to be at all times. Of all of the versions I have seen of this song (and I have seen many, many, many versions of this song), Donna Murphy is probably my favorite because she walks that tightrope brilliantly.

My dear, sweet techie husband (whom I never give enough credit for his astute musical theater opinions because I judge techies left and right ) turned to me and said, 'It's not Last Midnight.' And I thought...we ll...that's really quite correct. I really have to stop judging him for not knowing the cultural significance of a public sighing of Margo Sappington.

#125

FOLLIES at Carnegie Hall

Posted: 6/21/24 at 11:45am

Mark Gibbs sounded amazing and Too Many Mornings was absolutely gorgeous.

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