Photos: FOLLIES at Chicago Shakespeare Theater - First Look! — Page 2

I'm no expert on the different versions of the book, but I'm pretty sure it was the Encores/Broadway book. In the final scene, the other guests weren't onstage at all, it was as if they had already left when the main four went into their crazy fantasy thing, leaving them all on their own to sort out their problems.

Griffin made it sound like it's the current Broadway book with the 2001 Tunick reduced orchestrations.

The playbill says "Orchestral Reductions" by David Siegel, but it doesn't say which orchestration they were reduced from.

You're very welcome!

Expanding upon what I thought I had said earlier but didn't (midnight ramblings...), the main ghost showgirl was there to represent all of the feelings and problems that were left in the theatre and ignored for thirty years. She was the first one to enter the stage and most of what she did was just stand and look at the theatre in wonder, but she brought the show into Loveland as she descended in a hoop and she prompted Ben to forget his lyrics and have his breakdown in Live, Laugh, Love. The final "Hi, girls, Ben, Sally" was a recorded echo offstage as the light glowed on the showgirl and went out, as if her job was done and the memories were faced, whether with a good or bad outcome. The final scene had a ghostlight on the mostly dark stage which was creepy and atmospheric. All of the ghosts were actually there in the moment, whether the characters realized it or not.

On the Lucy & Jesse discussion earlier, the number was slightly Fosse-esque and with very high energy. The three of them were fantastic dancers. The concept was that one of the dancers was Lucy X and the other was Jesse Y, and she started in a red sequin dress that they started to take off of her as she sang until she was in the slip you see in the picture for the dance break, so it did incorporate a bit of Ah, But Underneath, but I think that it gave a different effect. In Ah, But Underneath, it says that there was nothing underneath all the layers she put up, but this said that underneath this conflict she made, there is someone bursting to get out who can finally feel just fine. The number was one of the very enthusiastic crowd's favorites.

Saw the production last night.

Terrifically done, paced like a freight train, and sang better than any production of Follies since the original. The rapid pace doesn't allow for many moments of introspection, which both works and doesn't at the same time - it feels like a "Follies" painted in "broad strokes" as far as performance goes, as opposed to one in which we see every painful psychological detail in the performances.

Sometimes I disagreed with Griffin's choices - Phyllis and Ben remain on stage during "One More Kiss" in dimly lit specials, which I think underwhelms the power of the song. Also, Ms. Resnik's "I'm Still Here" is held back from being a barn burner because she shares the stage with literally the entire cast during it, and even interacts with them. It still gets a deserved ovation, but if we could just see her have that moment, the place would no doubt go up in flames. Finally, and probably the one that could be most hotly contested, is that the ghosts seem to be VERY cognizant of their future selves, and sometimes vice-versa - the older and younger counterparts interact during "Who's That Woman" (underwhelming compared to other moments in the show), Young Sally embraces Older Ben and vice versa, then switch back during "Too Many Mornings" (which is THRILLINGLY sung), etc. I would prefer to see the ghosts and the guests grow more cognizant of each other as the evening progresses, to culminate as they go into Loveland. These are all minor quibbles, though, as the production is very effective.

Are four of the leads are terrifically well-sung. O'Connor's "Lucy and Jessie" is far and above the evening's highlight, completely stopping the show in its tracks. Her "Could I Leave You?" is effective, and very funny, but lacks the anger and tragedy of Murphy's or Maxwell's. Moniz's Sally is needy and girlish - she almost plays as a more period, less manic version of Diana in N2N. "Losing My Mind" is a highlight, and the aforementioned "Too Many Mornings" soars. Barrett is solid, and well-sung. Petkoff is not the most sensational dancer, and the choreo is a little tough for him in "The Right Girl", but his performance is the most vivid and real in terms of acting.

Resnik is a terrific Carlotta. Marilynn Bogetich is a BRILLIANT Hattie. Nancy Voigts is also brilliant as Stella. Ami Silvestre and Dennis Kelly make you grin from ear to ear as the Whitmans. The young counterparts are well sung and very well acted - L.R. Davidson and Adrian Aguilar stand out as Young Sally and Ben. The ensemble ladies' wigs are less than flattering, and it is often difficult to tell them apart from Young Sally/Phyllis. A major issue is when we first see Young Sally and Phyllis, Young Phyllis is wearing the exact shade of pink that Adult Sally is wearing - many older people around me expressed confusion.

All in all, simply wonderful, and a very different beast than the New York production - it's more affirming and less heavy-handed than the NY production. If you're in Chicago, not to be missed

Could someone post the orchestra list? (ie what instruments being used)? thx

shame there's no French Horn in this orchestration - I imagine it would be pretty easy to combine drums & percussion. But -- I shouldn't complain, at least they're using a live orchestra!

Wonder what 2nd keyboard is? Synth strings?

Updated On: 10/8/11 at 09:35 PM

I haven't seen it yet but heard from several sources that the orchestra is all "real" and there are no synths.

In this production Weismann has a young "date" - so she may have ben telling it to her. I preferred it that way than Carlotta having a random convo with young waiters. Thankfully both ways are currently on stage. :)

In this production she eventually finds herself singing to a few waiters.

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No. They are using the 2011 Broadway book. Carlotta had a different pre-song speech in that horrible Roundabout production.

^ Thats from the London production which the Encores! and 2001 productions substituted in.

I agree that it's odd that Carlotta gives the speech to Weisman. But what's even more odd in this production is how she performs the song with the whole company.

Diva moment! Get off that stage!

I have to agree with Marlo - the youngins are VERY small. and also VERY thin. Marlo, I see your point about the "Who's That Woman" choreo, but I felt I was being hit over the head with the metaphor - I don't need the subtext staged for me in such an oh-so-literal fashion. I think the choreo for the B'way production is better (and still nothing touches the original).

Really though, my quibbles are very minor. This is a really first-rate production and stirs the spirit.