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

[ljay889]

Posted: 10/8/11 at 1:24am

Could you tell what version of the book it was?

Did the party guests have individual exit lines at the end?

[AwesomeDanny]

Posted: 10/8/11 at 12:58pm

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.

[ljay889]

Posted: 10/8/11 at 1:04pm

Thanks for the info! Definitely sounds like the 1971 or Encores!/2011 book.

[SondheimFan5]

Posted: 10/8/11 at 1:11pm

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

[ljay889]

Posted: 10/8/11 at 1:18pm

One article has stated that they are brand new orchestrations.

The Chicago Shakespeare production will use fresh orchestrations and the instruments will all be acoustic. from the Chicago Tribune.

AwesomeDanny, could you tell us who is credited for the orchestrations?

[AwesomeDanny]

Posted: 10/8/11 at 1:26pm

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

[Phyllis Rogers Stone]

Posted: 10/8/11 at 1:34pm

Thanks so much for the detailed review, AwesomeDanny!

[AwesomeDanny]

Posted: 10/8/11 at 3:25pm

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.

[AC126748]

Posted: 10/8/11 at 5:20pm

I've been told by a friend who saw the production that it's identical to the current Broadway book.

[inlovewithjerryherman]

Posted: 10/8/11 at 6:26pm

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

[ljay889]

Posted: 10/8/11 at 7:03pm

They are indeed using the same exact book as the current Broadway revival.

The authors consider it the "licensable bible version." So it looks like MTI will start licensing it.

It is indeed the best version of the book after the original. It closely follows the original book, with edits and cuts throughout. There are some newly written lines throughout the script.

http://www.playbill.com/news/article/155163-Chicago-Follies-With-Brent-Barrett-Caroline-OConnor-Susan-Moniz-and-Robert-Petkoff-Begins-Oct-4

[SondheimFan5]

Posted: 10/8/11 at 8:04pm

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

[AwesomeDanny]

Posted: 10/8/11 at 8:40pm

Conductor/Piano/Celeste
Violin
Cello
Flute/Clarinet/Alto Sax/Oboe
Clarinet/Tenor Sax/Bass Clarinet/Flute
Lead Trumpet
2nd Trumpet
Trombone
Acoustic Bass
Drums
Percussion/2nd Keyboard
Harp

[SondheimFan5]

Posted: 10/8/11 at 9:35pm

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

[Marlothom]

Posted: 10/8/11 at 10:00pm

At intermission now - this is so phenomenal! Having see the KC version, I can say this is so much better. So many wonderful choices, a few misses but on the whole - wow. Will write more later.

Ok - back. Overall, this was such a thrilling production - so intimate, sat in the front row and felt like I was eavesdropping on a private party. I loved so much of this production - the cast was brilliant - particularly the four leads. I found Mr. Barrett so charming and handsome and yet real - finally a Ben I can see women going crazy over. . . and he sings the score so beautifully. Moniz was brilliant as Sally - what a voice - her Losing My Mind was such a highlight. Petkoff was great as Buddy. For some reason he seemed so period and played it so hurt and such a different interpretation than Burstein who I felt played it with a faint smile. O'Connor was strong but a bit campy for me - it may just be that I am so used to tall, statuesque-type Phyllis that I could not get used to it (shame on me) but I saw her play Velma in Sydney and this was bit too close to that performance for my comfort (especially the dancing in Lucy and Jessie).

A few of the choices that made my night - Hattie taking a long drink of champagne before singing Broadway Baby, mixing Vincent and Vanessa with Rain on the Roof characters, Young Stella actually singing behind her older self in WTM, Carlotta beginning I'm Still Here to Weismann - they way she sang it to him made me think as though they've had some crazy times together.

Some of the misses: they cast the younger selves as VERY SMALL people, the women looked like teenagers and it made for a very awkward "Too Many Mornings." The Loveland sequences were too Fosse- especially Mr. Cello/Me and My Baby for Buddy's Blues, All I Care About for Live/Laugh/Love (didn't he play Billy Flint?) and most of Velma's songs from Chicago. I also did not think Ben's breakdown was strong - still have not seen anything that tops the way Papermill handled this moment. And the men's costumes were 20 rented tuxes - not tailored very well.

I read some of the other reviews and wanted to comment on that, as well. I didn't read the characters acknowledging the ghosts in Who's That Woman - I saw it as, dancing as though you are staring at the mirror was part of the choreography. Same with Too Many Mornings, this is happening in their heads as Sally is still obsessed with Young Ben and Ben is tipsy and thinking about the time he made it with Sally (years ago). This is done very well in the Bway revival.

Updated On: 10/8/11 at 10:00 PM

[Unknown User]

Posted: 10/9/11 at 12:03am

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

[ljay889]

Posted: 10/9/11 at 12:31am

Carlotta beginning I'm Still Here to Weismann

I hate when Carlotta gives the little speech to Weismann. It makes no sense to me, as he would know about the cut number. It makes much more sense when it's delivered to a group of young waiters, which is also how it was staged in the original production, according to the original script.

[Marlothom]

Posted: 10/9/11 at 12:38am

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.

[SondheimFan5]

Posted: 10/9/11 at 12:40am

So are they using the 2001 book??? Because Carlotta sang I'm still here to Weissman in that production.

[ljay889]

Posted: 10/9/11 at 12:44am

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

[Marlothom]

Posted: 10/9/11 at 12:45am

I don't know what book they are using, but I will say the Loveland song had the rhymes assigned to each letter, "D is for the doubts that never die", instead of the random sayings, "to lovers ears, the lovers . . .are music" which I am pretty sure is part of the current revival.

[SondheimFan5]

Posted: 10/9/11 at 12:47am

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

[ljay889]

Posted: 10/9/11 at 12:47am

Yeah, the Broadway revival uses the original sayings. They have the lavish costumes to symbolize the imagery given in those sayings. Apparently when productions don't have the budget for lavish enough costumes, they use the letter rhymes.

[inlovewithjerryherman]

Posted: 10/9/11 at 12:52am

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.

[SondheimFan5]

Posted: 10/9/11 at 12:59am

Sally and Phyl are supposed to be 19. (If I recall, Phyl's age is never mentioned but I've always thought she was a year or 2 older than Sally), and their husbands are only a couple years older than them. So - long story short - As long as these "kids" don't look 15 then I think it's fine.

Most importantly --- they need to look, act, sound like their older selves.

Anyone else think Petkoff is a bit young for Buddy? How old is he?