My Follies at Encores! Opening Night Review

[elvisitis1302]

Posted: 2/9/07 at 12:51am

Wow...all I can say is...wow.

I was there tonight and have rarely seen such a wonderful overall show. From the first gripping notes of the overture to the final chord at the shows conclusion, I was on the edge of my seat, eagerly anticipating each new move the actors (and musicians) made. Now, the people.

First off, Victoria Clark was BREATHTAKING. If there was ever a role an actor was born to play, it was her as Sally. I cannot write enough kind things to do her justice.

Donna Murphy was equally fantastic, I just wish there was more for her to sing! I have seen several productions of Follies, but her "Could I Leave You?" definately blew the rest away!

Victor Garber's voice isn't what it used to be, but his acting and presence makes up for it.

Michael McGrath was a very different Buddy than those I've seen in the past. At first, I wasn't fond of his performance, but by Act Two he had me hooked. Especially his dance sequence in "The Right Girl" and "Buddy's Blues."

Christine Baranski's Carlotta was...okay. To be honest, I was expecting a lot more from her. Not to say she wasn't great, she was, but there was...something missing. When she sang "I'm Still Here" (minus a little lyric mishap) it seemed very forced and strained. She had some great line moments, though.

This show is so hard to act. Maybe one of the hardest out there, but as a whole the cast did a wonderful job. The audience responded incredibly well throughout the evening, and I would HIGHLY encourage everyone who can nab a ticket to go before it's gone.

[RockabyeHamlet]

Posted: 2/9/07 at 1:56am

Ill add to this, rather then starting a new thread. I have many of the same views as Elvis, I loved Victoria Clark, In thought Garber wasn't what he used to be, and Baranski underwhelmed me. The highlight for me was Donna Murphy. I have never seen her perform and she blew me away. I may have another reason to see LoveMusik now!

I also thought Mimi Hine's "Broadwaya Baby" was fantastic. "Who's That Woman?" was a knockout, as was "Rain on the Roof." "Ah' Paris!" was very forgettable, but that was the only number that was in this fantastic production.

[Michael Bennett]

Posted: 2/9/07 at 2:07am

Nice review!

I did NOT write the following - it's a posting from ATC: but I'm going to paste it here because a lot of people (myself included) have been wondering which version of the show this is. "Bobster" explains in great detail all the cuts etc:

FOLLIES - Thu 2/08

Posted by: Bobster 12:37 am EST 02/09/07

--------------------------------------------------------------------------------

It's primarily the Roundabout libretto with some edits--heartbreaker for me (of THIS libretto, the things I miss from the original, AI): Sally doesn't say her "I remember..." line after "The Road You Didn't Take". So this means there's the Ben/Carlotta and Phyllis/Kevin scenes BEFORE "One More Kiss". And my friend was wrong about the "mole under my breast" line, it ain't there.

The major difference is the ending--after Ben breaksdown, post "Chaos", he's on the floor and Phyllis comforts him while the other "stars" look concerned and exit. There's no dialogue from them about "we should do this every year" and so on, nor is there dialogue among the four about apologizing and "if you're ever in Phoenix...". Ben and Phyllis leave first with the return of "You're really something, aren't you?" "Bet your ass." Buddy and Sally are alone and do the "I'm 49 years old. That's all I am. What am I going to do?"; then we go back slightly to the original libretto with making plans for tomorrow. Sally's last line is cut short with "It is tomorrow."

So, like Roundabout, there's an intermission after "Too Many Mornings".

The score is in the original keys. A LOT of the underscoring is cut which to me hurts the show with so much silence. The orchestrations seem original EXCEPT for the first bars of "The Right Girl"--strange. They add a "Foxtrot" underscore for Carlotta's dialogue about never getting to talk.

"Loveland" is the Roundabout version.

Donna and Victoria were wonderful for the most part. Because of the original keys, there were some vocal problems with "Losing My Mind" and "Lucy & Jessie". I laughed when Donna sang "Darling, shall we dance?" in "Could I Leave You?" because I remembered her The King & I connection.

Some dance music was cut from "Bolero", "Who's That Woman", "The Right Girl" and "Lucy & Jessie". Not a lot, but still significant; the cut particularly hurts in "The Right Girl".

Michael McGrath was GREAT, well cast as Buddy.
Victor was also great as Ben, he got a lot of laughs.

Mimi Hines was indeed great.
So was Yvonne Constant (Tony winner for la Plume de ma Tante, the whole cast won a combined award!) as Solange. She talk sang much of the refrain but got tons of laughs through the whole number, more than any other Solange I've seen/heard.

Christine was an interesting Carlotta, very cold, like this was all above her. Perhaps she thought she should have been Phyllis! She kept pitch for almost all the number except that last note.

The Four are directed to see their ghosts during "...Girls Upstairs". That's a mistake to me.

There's no Young Ben in the "Too Many Mornings" pre-scene.

The choreography for "You're Gonna Love.../Love Will See Us..." was brilliant.

The orchestra sounded FANTASTIC. I had some tempi questions myself (but that's me) but overall, WOW.

They ARE selling lithographs but also regular window cards for $10. And T-shirts as well.

So...you can't really go by me for The Big Question. It's Follies, for God's sake! But I'll tell you this: I'm buying a ticket for the Saturday matinee for as much as I can so I can go All Six Times. :)



Updated On: 2/9/07 at 02:07 AM

[ray-andallthatjazz86]

Posted: 2/9/07 at 3:01am

I was there tonight. It was a fantastic experience.
For those who say Victor Garber's voice is not what it used to be, he told us at the stagedoor that he had lost his voice. He did seem to be upstaged by other performers when he was singing in duet. I was expecting his "The Road You Didn't Take" to be a bit more desperate, but he seemed like he just wanted to sing the song instead of performing it. However, once he reached "Too Many Mornings" he was very touching and his "Live, Laugh, and Love" was magnificent. He fared a lot better in the book scenes though, specifically in his scenes with Donna Murphy, both seeemed to have great chemistry.
Speaking of Donna Murphy, she had the audience eating at the palm of her hand. She was the queen of one-liners tonight. She just nailed every single one of her scenes. I didn't get the chance to see Alexis Smith but Murphy performed the role as if it had been written for her. Her "Could I Leave You?" was better than I ever thought the number could be. She managed to be funny, poignant, elegant, desperate, frustrated, and sad all in one. She started slow, delighting everyone with her acidic remarks but by the end of the song she was out of control, her voice was breaking, and you could see all the desperation inside Phyllis. Her "Could I leave you? Yes" was not funny or sarcastic, it was heart-breaking. Everyone loved it when she appeared wearing the red dress for "Story of Lucy and Jessie," she flubbed a couple of lyrics but gave a solid rendition of the song. I was hoping for some high kicks though.
Michael McGrath was brilliant. At first he seemed just OK, however, in Act II he made the most out of his two solos. I had never liked "The Right Girl" until tonight, he truly seemed to get the song, and well, his "Buddy's Blues" was magnificent. Kudos to Kristen Beth Williams and Emily Fletcher who were hilarous as Margie and Sally.
Victoria Clark was great. At the beginning I thought she was playing a variation of Margaret, but as the show progressed she was more comfortable with the material. She looked STUNNING during "Losing My Mind," and gave an astonishing rendition of the song. Her final "you said you loved me" shocked me, it was so emotionally raw and touching. She was also very kind and humble at the stagedoor.
Christine Baranski was very much relying on the script for the book scenes and I didn't think she was all that much. Except for the scene with Ben in which she says "Men are so sweet" and leaves, I did not think much of her performance. Her "I'm Still Here" was alright, if it had been the first time I had heard the song I would not have considered it an anthem to survival or a celebration of a woman's life; she did nail some lines, but Elaine Stritch, Nancy Walker, Yvonne De Carlo, and Dorothy Loudon nailed the whole song when they performed it.
The rest of the cast was excellent. Anne Rogers and Robert E. Fitch were one of the best part of the show. As Emily and Thodore Whitman they made such a beautiful couple. The sharp contrast between them and the main two couples somehow showed some hope, it showed that there is a chance for success, a chance to connect with someone else. Their "Bolero d'Amour" was one of the most beautiful moments of the night.
The "Rain on the Roof," "Ah,Paris!" and "Broadway Baby" sequence got the second-longest ovation of the night (that I can remember). Yvonne Constant got an incredible number of laughs with "Ah,Paris!" and Mimi Hines was way too good as Hattie.
The biggest showstopper of the night was "Who's That Woman?" Casey Nicholaw, JoAnne Worley and the rest of the ladies outdid themselves with this number. The choreography was devine, Ms.Worley sang the number with such elegance and sharpness, and well, all the older women dancing with their younger selves were spectacular. It was so great to see this pros showing that they could very much handle the number but it was also nice to see how they were ok leaving the legacy to the younger dancers. The only problem was with the sound design, just like in the 1985 performance, Stella's last portion of the song is drowned by the chorus. Just a minor glitch. This number stopped the show, it was just fascinating.
The "You're Gonna Love Tomorrow/Love Will See Us Through" folly was great. I was impressed at Nicholaw's focus on detail; at the end, of the number Sally and Ben looked at each other for a second before going to their couples. It was so easy to miss but it was there. Again, his direction and choreography was seamless and on the spot. I have to mention the fact that Katie Klaus was great during her numbers and book scenes, it was impressive to hear her sing because she was channeling Clark's voice. Quite a great performance that stood out among the young actors (though they were all good in general).
Overall, it was a great experience, one of those that you hope to re-live the rest of your life.kudos to everyone involved.

Updated On: 2/9/07 at 03:01 AM

[VeuveClicquot]

Posted: 2/9/07 at 3:22am

I was there too, and I agree with everyone, what a fantastic evening in the theatre that was.

Murphy and Clark were AMAZING.

But Baranski was not. Good. At all.

Honestly, I felt Mimi Hines owned that evening. Or barring her, then JoAnn Worley.

Both Hines and Worley nailed their respective numbers. Yes, Clark and Murphy were amazing.

But I felt that Baranski was a big flop.

Opinions?

[ljay889]

Posted: 2/9/07 at 10:21am

http://www.talkinbroadway.com/ob/02_09_07.html

Murray basically panned it. But am I suprised?

When do we get Brantley's review?

[PalJoey]

Posted: 2/9/07 at 11:38am

I never post on All That Chat, but I read the post MichaelBennett x-posted and posted this:

===

Bennett delighted in dazzling and doing a "mind f*ck" on the audience: Just when you think you had it figured out, another layer unpeeled.

So "Who's That Woman" started out as a bunch of old babes doing the number that used to wind them. Then Bennett's choreography heated up--and you thought, "Wow! They've still got it!" At this point the ghosts were upstage, facing upstage, barely noticeable.

Then the choreography started getting more difficult, and you noticed that some of the old babes couldn't hack it. At this point, the ghosts turned around and moved down stage. Now they were intermingled--and THAT was the first Bennettian mind-F*CK: Which to watch? The past or the present?

Then the young ghosts got more and more dazzling--and the number was saved! And then came the ULTIMATE Bennettian mind-****--the one the director and choreographer of the Roundabout version didn't understand: The old babes were still going, not as agile as their young ghosts, but alive and dancing.

And THAT is what the number became about: Not that we get old and lose what we had, but that what we had gives energy and meaning to what we are, AS LONG AS WE'RE STILL ALIVE AND TRYING--and as long as we have Stella's lack of bitterness, rather than the four main characters' anger and regret.

The number, in Bennett's genius, was about surviving--and leading in to I'M STILL HERE, the two numbers were the heart of the message of the original production.

[AC126748]

Posted: 2/9/07 at 11:38am

Saturday, I believe.

[jewishboy]

Posted: 2/9/07 at 12:08pm

Yes, look for it on Sat in the Metro section. I'm just scared that Isherwood will review it and then Murphy won't get Brantley's love letter. If Murphy gets a love letter then she will have two from Brantley compared to Kristin's three.

[SpamalotDiva]

Posted: 2/9/07 at 12:30pm

dang!
i really really want to see this...
stupid geographical differences!

[ljay889]

Posted: 7/19/07 at 5:50pm

I miss this..

What an exciting time.

[ray-andallthatjazz86]

Posted: 7/19/07 at 6:18pm

I'm on the same boat, LJay...
I remember the excitement of flying into the city that Thursday, waiting impatiently for the show to start, applauding so hard that my hands were about to fall off when Donna Murphy stepped on the little platform during "Beautiful Girls," being literally on the edge of my seat during "Who's That Woman?", the curtain rising revealing Victoria Clark in a gorgeous white dress, Donna stopping the show after "Lucy and Jessie," and being unable to get it out of my head for the past what? Five months? Yeah...good times.

Posted: 7/19/07 at 6:40pm

that production FOLLIES changed my life...

....& then this production of GYPSY changed it even more!

thank you, CityCenter!

[glimpseofstocking]

Posted: 7/20/07 at 12:44am

Wish I could've been there. I loved reading all the reviews here though.

Thank the theatre gods for City Center.

[Kringas]

Posted: 7/20/07 at 12:57am

Life was fun, but oh so intense
Peeling off the layers of a show that's so dense
Back then when one of the major events
Was posting on the Fol-
Posting on the Fol-
PostingontheFol-lies thread!

[ray-andallthatjazz86]

Posted: 7/20/07 at 1:26am

Kringas, why are you so great?
By the way, I loved "Waiting Around for the Girls Upstairs" at the concert, McGrath was a fantastic Buddy, wasn't he?

[ljay889]

Posted: 7/20/07 at 1:28am

McGrath rocked! I was enthralled by his THE RIGHT GIRL.

[Kringas]

Posted: 7/20/07 at 1:38am

Double Post. I LOVE FOLLIES!

Updated On: 7/20/07 at 01:38 AM

[Kringas]

Posted: 7/20/07 at 1:38am

I've heard people didn't like him (not you two people, apparently), but I thought he was really charming.

[C is for Company]

Posted: 7/20/07 at 1:41am

I think he was perfect for the role upon further inspection. He seemed to have the ordinary qualities that Buddy would have, average looks, a kind of an everyman. His voice was adequate and he made for a good fit.

[ljay889]

Posted: 7/20/07 at 1:43am

The critics liked him, didn't they? It was a bit hard for Garber and McGrath to shine..considering everyone was gaga and nuts for Clark and Murphy - who were absolutely brilliant leading ladies.

Updated On: 7/20/07 at 01:43 AM

[ray-andallthatjazz86]

Posted: 7/20/07 at 1:48am

He was everything Buddy needed to be, IMO. Kinda there, nothing too special, a sort of good guy that you wouldn't notice even if he talked to you. I thought his "Buddy's Blues" was pretty great (with the help of the funny girls who played "Margie" and "Sally") and his book scenes with Clark and Murphy in particular were quite impressive.
And reading the playbill.com interview with JoAnne Worley I was reminded how great this woman was the two times I saw her. I couldn't get enough of her as Stella Deems.
Am I the only who thought Anne Rogers and Robert E. Fitch? After Worley I believe they were my favorite of the supporting cast.

[Kringas]

Posted: 7/20/07 at 1:49am

Yeah, I really wish Garber was better. And of course Baranski.

But the good so outweighed the bad.

[ljay889]

Posted: 7/20/07 at 1:51am

Yeah. Garber made no impression on me. McGrath did for me though.
I was enjoying Baranski quite a bit until her final notes of I'M STILL HERE...oy! Otherwise.. her book scenes were fine with me.
Updated On: 7/20/07 at 01:51 AM

[C is for Company]

Posted: 7/20/07 at 1:51am

Out of the leading four, I did think Garber was considerably the weakest. Up until the 2nd act, it barely sounded as if he was singing as opposed to shuddering his voice up to make such shaky noises. I was really excited for him going in but talk about disappointment. At least he had a good L,L,L and had strong ladies to work off of.