FOLLIES- National Theatre Live- Page 5

[StylishCynic]

Posted: 12/13/17 at 9:34am

I went to the 7pm showing in Chicago last night, and man did this play to a full house. I'd estimate 150, maybe 200 people. It was at the Music Box Theatre in the main auditorium. This was the only time it's been screened in Chicago, so that explains the enthusiasm. Overall, there was a LOT of love for this production from Chicago.

The screen there isn't as large as most theaters, but I was in the 4th row feeling like I was in the show. It was a riveting production. I actually loved songs in this show that had never truly "landed" to me in recordings. I'm Still Here and One More Kiss were rapturous. The ghosts felt like an emotional gut-punch throughout the entire show.

I ended up enjoying most of the pre-Loveland story much, much more than Loveland. I'm not to keen on the 1950's Americana approach they took to the Follies numbers, especially The Story of Jessie and Lucy.  But most of all, I loved the book scenes. The first book scene with the 4 lovers clashing with one another on the turn stage was stupendous. I really think the turn stage is what Follies has always been missing. It added an element of the theatre physically interacting with the party goers, which seems to be a natural extension of the premise. 

I'm thrilled this production was shared outside of London.

[Valentina3]

Posted: 12/13/17 at 11:16am

This is, by a long shot, my favorite thread on BWW since I joined. Really fun to read responses from everyone, and thankfully - absurdity and hate are at a decidedly low volume. I feel like I'm sitting in a book club with people far more intelligent and observant than I ever will be and talking about Everything Was Possible. :)

[3GamesToLove]

Posted: 12/13/17 at 11:56am

StylishCynic said: "I went to the 7pm showing in Chicago last night, and man did this play to a full house. I'd estimate 150, maybe 200 people. It was at the Music Box Theatre in the main auditorium. This was the only time it's been screened in Chicago, so that explains the enthusiasm. Overall, there was a LOT of love for this production from Chicago."

It hasn't had many screenings in the suburbs, either--I think before this weekend there had been just one in Evanston. I saw it in Highland Park on Sunday morning and it had a pretty good crowd, all things considered. Glad to hear the Music Box was packed too!

[JBC3]

Posted: 12/13/17 at 12:24pm

Saw the filmed showing last night. Having had the incredible good fortune to see the stage production four times this year, I went in with a bit of hesitation.

Not everything translated as well to the screen as I think it came off in the theatre, but I am thankful so any more people got to experience this wonderful production in any form.

I adore Follies and spent a blissful weekend shuttling between DC and Chicago to see the respective productions in those cities a few years back.

What I felt each time I saw the NT staging in the theater was a clear point of view and intention from the design team and director, one that was integrated into every aspect of the show. And for me, it worked. Magnificently. Small moments illuminated grand themes in ways I had never experienced before.

One can find things to fault in any production no doubt, including the National Theatre version (for me, Solange was an unacceptably weak link). But if you evaluate this production on whether or not it successfully executed the vision with which it was designed, it is about as good as it could get.

[The Other One]

Posted: 12/13/17 at 1:35pm

"(for me, Solange was an unacceptably weak link)"

Yes, my only complaint about the cast.  I wondered if she just wasn't recorded well for the broadcast: "Ah, Paris" left little impression.  

A wonderful production all the same.

[Mister Matt]

Posted: 12/13/17 at 11:13pm

I saw it in Highland Park on Sunday morning and it had a pretty good crowd, all things considered .

Ha!  That's where I saw La La Land.

[GavestonPS]

Posted: 12/14/17 at 12:22am

Cynic, in the original production, the upstage area
was filled with staggered platforms that moved
forward and back (mechanically, i.e., without aid
from visible human beings), giving the impression
that the entire theater was haunted.

They allowed Prince and Bennett to "change"
scenes in an abstract way. Meanwhile, the
"ghosts" of Follies girls (6' women dressed all
in white with huge headdresses) moved in slow
motion over the shifting platforms and among the
characters as the latter played their scenes.

The effect was exactly what you describe: an
organic connection between the set, the ghosts
and the characters of the play.

That being said, I agree with you about the turntable
at the NT: it was used more inventively than I have
seen a turntable used before. For me, it was an 
entirely satisfying substitute.

Updated On: 12/14/17 at 12:22 AM

[GavestonPS]

Posted: 12/14/17 at 12:27am

The Other One said: ""(for me, Solange was an unacceptably weak link)"

Yes, my only complaint about the cast. I wondered if she just wasn't recorded well for the broadcast:"Ah, Paris" left little impression.

A wonderful production all the same."

Yes, I thought her volume was lower than others. Because I was
actually impressed to hear a Solange who articulated the tricky
lyrics of "Ah, Paris" so well. I love the word play and humor of
the song, but Fifi D'Orsay and others have sung the number as
if they learned the syllables phonetically. (Which may have been
the case with D'Orsay. According to Everything Was Possible,
she was lucky to get through the song without forgetting the
words.)

[The Other One]

Posted: 12/14/17 at 10:08am

Gaveston, I saw her twice and that was never the impression she left me with.  However, many, many people I know joke about the mistakes they have made in quoting or singing the lyrics to the song based on the fact that they could never quite understand her on the recording.

[justoldbill]

Posted: 12/14/17 at 11:00am

No, it's based on the fact that they never bothered to peruse a script or score, both published and readily available- a performer's worst excuse.

[Valentina3]

Posted: 12/14/17 at 1:47pm

I agree with Gavenston that the volume was a problem with Solange and I don't think it was because she wasn't projecting. It felt like she started a beat or two early, and the mics just weren't turned on. That, along with the camera being a little more than confused on who to concentrate on made it a rather sloppy moment. Her "Beirut 'az sunshine -- that's all eet 'az" line reading had people in the theater cackling.

 

[nasty_khakis]

Posted: 12/14/17 at 2:11pm

I saw the screening last month and latter in the week saw the show live in London and there were SEVERAL line differences. I can't remember them all, but the line was "honeymooning in Boca Raton" in the filming last week, but live she said St Petersburg. Does anyone know why they changed them? I assume it's the widow Goldberg not caring if some lines were changed in the theatre but wanted others "preserved."

[MarkBearSF]

Posted: 12/14/17 at 3:13pm

There seems to be somewhat of a tradition of disappointing Solanges. 
"Everything Was Possible" describes many problems with Fifi D'Orsay and Regine was widely criticized in the recent revival.

 

[JBC3]

Posted: 12/14/17 at 7:02pm

I thought Mary Beth Peil aced the role in the last revival. Great enunciation, nice stage presence, and was able to get all the humor out of the lyrics whereas the NT Solange did not (except Beirut).

[GavestonPS]

Posted: 12/14/17 at 7:35pm

The Other One said: "Gaveston, I saw her twice and that was never the impression she left me with. However, many, many people I know joke about the mistakes they have made in quoting or singing the lyrics to the song based on the fact that they could never quite understand her on the recording."

I was indulging in a bit of hyperbole. I know
D'Orsay spoke English.

But just look at the lines "Beirut has sunshine/
That's all it has". Not only is it nearly impossible
to understand D'Orsay, there's no clue in her
delivery that she is singing a joke. The Solange
at the NT plays the joke and lands it.

I found D'Orsay charming when I saw the show
live. I didn't know I was missing anything.

Yet as Chapman reports in Everything Was
Possible, "Ah, Paris" was supposed to be the
climax of the sequence. Unfortunately but
Ethel Shutta was doing a better job of
delivering her number.

[GavestonPS]

Posted: 12/14/17 at 7:41pm

I apologize for the jagged line breaks in my posts. I realize they
are difficult to read.

But BWW recently began displaying ads over the right half of
my screen. Removing the ad merely leaves a blank space and
doesn't display what I am typing.

So I have to put manual line breaks on every line in order to
reread what I write.

IMHO, BWW is fast approaching the point where it becomes
unusable, which is a shame because I really like the posters
here.

[GeorgeandDot]

Posted: 12/14/17 at 7:43pm

I didn't have a problem with the NT Solange. I thought she was fine in probably my least favorite role in the whole show. I actually thought the NT Hattie was the one that fell flat. I mean, that's such a juicy number and the actress did absolutely nothing with it.

[GavestonPS]

Posted: 12/14/17 at 7:49pm

GeorgeandDot said: "I didn't have a problem with the NT Solange. I thought she was fine in probably my least favorite role in the whole show. I actually thought the NT Hattie was the one that fell flat. I mean, that's such a juicy number and the actress did absolutely nothing with it."

I thought Di Botcher (the only actor
whose name I actually looked up)
sang the song beautifully. Quite a
voice!

But I thought she was doing the
Julia McKenzie version: under-
playing most of the number to
save the big belt for the final
four lines. It's the way McKenzie
sang it in SIDE BY SIDE BY
SONDHEIM.

It works very well in SIDE BY
SIDE, but not so well in FOLLIES
where Hattie is competing with
a lot of other activity on stage.

(I also thought she looked to
be the same age as Ben, when
the point of his story is that
she is a generation older.)

[GavestonPS]

Posted: 12/14/17 at 7:54pm

nasty_khakis said: "I saw the screening last month and latter in the week saw the show live in London and there were SEVERAL line differences. I can't remember them all, butthe line was "honeymooning in Boca Raton" in the filming last week, but live she said St Petersburg. Does anyone know why they changed them? I assume it's the widow Goldberg not caring if some lines were changed in the theatre but wanted others "preserved.""

Maybe they thought Boca Raton
would play better to American
viewers. As a Floridian myself,
originally, I'm surprised the British
even know where St. Petersburg
is; it's not really a honeymoon
destination. (Though nearby
towns are.)

[MarkBearSF]

Posted: 12/14/17 at 7:58pm

JBC3 said: "I thought Mary Beth Peil aced the role in the last revival. Great enunciation, nice stage presence, and was able to get all the humor out of the lyrics whereas the NT Solange did not (except Beirut)."

Agreed about Mary Beth Peil. I had forgotten that she took over for Regine after DC. (And was excellent, as always)

[Gizmo6]

Posted: 12/15/17 at 6:14am

GeorgeandDot said: "I didn't have a problem with the NT Solange. I thought she was fine in probably my least favorite role in the whole show. I actually thought the NT Hattie was the one that fell flat. I mean, that's such a juicy number and the actress did absolutely nothing with it."

I saw the production at the National this week and Di Botcher as Hattie stole the show. She nearly had a standing ovation for Broadway Baby as did Tracie Bennett as Carlotta for I'm Still here. I loved the staging of I'm still here. 

I found having the conversations on stage was very jarring and added to the alienation effect that the final Follies Segment built to. 

 

 

[GavestonPS]

Posted: 12/15/17 at 7:50pm

Gizmo6 said: "I found having the conversations on stage was very jarring and added to the alienation effect that the final Follies Segment built to.



"

Huh? The entire reunion takes place on stage (except for a
couple of scenes the NT production puts in the front rows
of seats, and, of course, the staircase to the dressing rooms).
Where else would they talk?

Also, recheck your Brecht. There are multiple estrangement
effect(S) in his Epic Theatre. In fact, he cautions that if the
effects don't keep changing, the audience merely learns to
accept them as representational. But FOLLIES is an example
of estrangements used to great impact!

[Gizmo6]

Posted: 12/16/17 at 12:21pm

Sweetie I know you have a terrible education system in America but surely you can read. 

I found it to be is my opinion of something i saw. 

Secondly, having multiple conversations on the stage was jarring. End of. I was in the third row. I heard it all. People kept looking to see were people in the audience around talking this brought the audience, the ones in the theatre and in the front rows, out of the world of the play. 

You need to learn to read the lines in front not in between in your head. I said it jarred, it was striking, it disturbed, it BROKE THE FORTH WALL! And i finished with how it ADDED, that is contributed/enhanced. the alienation effect the final follies segment BUILT, that is established or intensified, at the end. 

Ok Sweetie? Ask Santa for a dictionary. 

[GeorgeandDot]

Posted: 12/16/17 at 12:37pm

^Woah. Really uncalled for, Gizmo6.

Also, about Hattie, I think I've just been spoiled by Jayne Houdyshell's great performance in the recent revival, but I really didn't care for this actresses' interpretation at all.

[uncageg]

Posted: 12/16/17 at 1:54pm

I am kind of out to lunch on it. Parts I really enjoyed. I feel it may have been better had I been sitting in the theater. The staging looks very busy at times and with the turntable and camera work it was a bit dizzying at times. The set looked beautiful and I am obsessed with Phyllis' costume! Overall I prefer the last Broadway revival over this production however, I like the Loveland presentation in this production more and loved the staging of I'm Still Here.