National Theatre: Follies- Page 8

[broadwayboy223]

Posted: 8/27/17 at 10:12pm

How did you hear?

[binau]

Posted: 8/28/17 at 12:24am

Well it's starting to make sense how Imelda can handle this now. 

[GavestonPS]

Posted: 8/28/17 at 12:51am

Valentina3 said: "jayinchelsea said: "Could not get to London to see this production, at least not until next year, just bought two of the remaining seats for NYU Skirball in November. Will be in Los Angeles most of the winter, but nearest theatre is in Irvine, 45 miles away, in January. This is crazy, why isn't this being shown more extensively?Is there any news about it being shown elsewhere, or on other dates?"

 

Same ^. I didn't even know the tickets were on sale already and there's literally no theaters in Madison WI showing this. Angels In America had 3 theaters within my 50 mile radius what's going on with this one!

 

 

"

Don't despair. There are no theaters listed for my area either. (And if Palm Springs isn't the market for FOLLIES, I don't know what!) They will add theaters as more sign up. (This happened with FALSETTOS and ANGELS, too.)

[imeldasturn]

Posted: 8/28/17 at 1:54pm

They cut bolero d'amour during previews 

[ljay889]

Posted: 8/28/17 at 2:03pm

I guess to save time. There's a bunch of comments on twitter complaining about the length of the show without an "interval." 

[JBC3]

Posted: 8/28/17 at 3:51pm

I enjoy hearing from people who saw original productions and can illuminate specifically what they find to be so special about them.

I do not like it when those same people (or others) use that information to repeatedly diss anyone who finds value in a revival that may do things differently, particularly if they do it in an obnoxious "I know better than you ever will" tone as sometimes is done here.

Make your case and then let it go. There is no prize here for Most Spirited Defense of an Original Production.

[Up In One]

Posted: 8/28/17 at 5:10pm

Sounds perfect for Lincoln Center just in time for Sondheim's 90th in 2020. Lincoln Center should do a festival to surpass the Kennedy Center celebration in 2002. Have all stages blazing with a Sondheim show, Sweeney Todd at The Met, West Side Story at The State, a Lonny Price concertized production at David Geffen Hall, smaller productions at the New House and the LCT3 with Follies at the Beaumont. Someone start orgainzing. 

[BakerWilliams]

Posted: 8/29/17 at 4:04am

Just listened to an audio ******* and I must say the orchestra sounds unbelievably lovely. So many facets of Sondheim's score that I've never heard before are made explicit by some extraordinary musicians in the pit.

[Wildcard]

Posted: 8/30/17 at 2:15am

I got to see the production last night and this show was a definite "Wow!"  The cast was uniformly great. The actors brought out nuances to their characters that I previously had not seen in other productions. I cried twice in sheer delight, first during Broadway Baby and again during I'm Still Here. I've always seen the latter song performed as a celebration of longetivity and Tracie Bennett infused so much pain and defiance, it elevated the song even more. Her treatment of men as something disposable became acts she had to do to survive. Imelda Staunton was a convincing Sally and she met the vocal demands beautifully. Different key? Perhaps but that didn't matter. The immense stage of the Olivier was filled with wonderful ghostly sets, so rich and detailed, it transported you into that derelict theater. Sadly, I wasn't too impressed with the Loveland set, considering how lush the previous scenery was. I can only imagine what it would have been like if they used the NT's drum beneath that stage for the Loveland scenes. Still, in the end, I imagine this would have been the last time that these long-time friends would ever see each other again. It rings so true with how life and relationships change as you get older. 

[justoldbill]

Posted: 8/30/17 at 2:59am

In answer to jewishboy's question about the stage band in the original production: they basically served as musical "party atmosphere" from their on-stage upper-level perch when in view (the various set pieces were constantly moving in and out creating different "locations" throughout the evening).  They played snippets of the old Follies numbers, sometimes changing tunes mid-measure to indicate sudden shifts of time and place.  Their last appearance on-stage was playing a bit of "Rain On The Roof" going into Carlotta's scene before "I'm Still Here".  From then on, they moved to the pit with the rest of the orchestra for the rest of the show.  "I'm Still Here" was the turning point in the show- from there on the "party" and "guests" aspect disappeared and the show concentrated on the principals.

[Jarethan]

Posted: 8/30/17 at 7:41pm

Up In One said: "Sounds perfect for Lincoln Center just in time for Sondheim's 90th in 2020. Lincoln Center should do a festival to surpass the Kennedy Center celebration in 2002. Have all stages blazing with a Sondheim show, Sweeney Todd at The Met, West Side Story at The State, a Lonny Price concertized production at David Geffen Hall, smaller productions at the New House and the LCT3 with Follies atthe Beaumont. Someone start orgainzing."

 

What a brilliant idea.  I imagine it is too short notice at this time, unless the powers that be have already begun to plan it.

[jacobsnchz14]

Posted: 9/4/17 at 9:38am

Production photos: http://www.whatsonstage.com/london-theatre/news/imelda-staunton-janie-dee-follies-photos_44526.html?utm_source=facebook&utm_medium=social&utm_campaign=04sep2017

[Scripps2]

Posted: 9/4/17 at 4:47pm

I'm beginning to get excited now. It looks so 1970s in a way that other productions have balked at and the derelict theatre looks alarmingly authentic.

Reservation: Sally does seem to be talking to her younger self in one of the photographs.

 

[Hest882]

Posted: 9/4/17 at 9:33pm

Those pictures look amazing. I had two thoughts when I heard about Imelda Staunton: 1) How could she possible handle the vocals? 2) She couldn't possibly convince me she was once glamorous enough to be a showgirl. 

Well, those photos are showing me she can indeed look *that* good.

 

[binau]

Posted: 9/4/17 at 10:17pm

There is a slight backlash from some posters at that UK forum basically suggesting she can't handle the vocals. But it's one of those things that I suppose people have been able to give her a pass on historically and appreciate the performance wholisitically. 

[devonian.t]

Posted: 9/5/17 at 6:03am

So nobody thought to dress up to attend that party?

[ljay889]

Posted: 9/5/17 at 8:22am

From what I've heard, the vocals aren't great. She manages them, but the key of Too Many Mornings sounds strange and doesn't soar like the original. 

Now looks wise, I definitely buy her as Sally. 

[broadwaybabywannabe2]

Posted: 9/5/17 at 4:13pm

i finally got my ticket to see FOLLIES at the National this Sept 22...i will be in London just one day and by searching the web for tickets i finally found one seat for my day in London...and i was trying for weeks to find a ticket...NOW i am so excited to be going to LONDON to see Follies...i saw the original production here on Broadway back in 1971 so this will be a much desired viewing!

[Scripps2]

Posted: 9/6/17 at 2:04pm

What will tomorrow bring, the pundits query...

(Press night tonight)

[JBC3]

Posted: 9/6/17 at 5:40pm

Guardian - 5 Stars

Follies review – Sondheim's showbiz stunner returns in breathtaking style
Imelda Staunton is unforgettable in Dominic Cooke’s ingenious revival of a musical that perfectly fuses splendour and poetic sadness

[binau]

Posted: 9/6/17 at 5:46pm

That review's take on Buddy's Eyes is odd. It's not about her being self-deluded that her husband adores her - he actually does genuinely love her. She is pretending that she is happy with her husband to Ben and the subtext is she isn't and she loves Ben. The song is not meant to come across as 'radiant happiness' or whatever they claimed. It should transition into a sad song after the dialogue break where the subtext becomes clear - something Victoria Clark and Bernadette especially did very well. 

Updated On: 9/6/17 at 05:46 PM

[Hest882]

Posted: 9/6/17 at 6:35pm

Nice review, but agreed. He missed the point with "In Buddy's Eyes" which is also why he misunderstands Buddy's conflict as well.

[BuddyStarr]

Posted: 9/7/17 at 12:19pm

devonian.t said: "So nobody thought to dress up to attend that party?"

It's 1971, That WAS dressing up then.

[jewishboy]

Posted: 9/7/17 at 12:42pm

Thanks justoldbill! That makes sense, sounds brilliant. 

So glad about the reviews, but yes he clearly doesn't understand the song. 

[henrikegerman]

Posted: 9/7/17 at 1:07pm

 "As Phyllis, Dee is brilliantly sardonic in her withering put-downs but when it came to the climactic The Story of Lucy and Jessie, where she dances alongside Strallen, I realised that this is a song about a divided self."  Billington in the Guardian

If this somehow a new realization?  If not that, exactly what did Billington formerly think the song was about?