The Official Kennedy Center FOLLIES Thread — Page 12

During the writing of the show, they thought it was important to show a range of the numbers that appeared in the Follies. There were often those kind of saucy French numbers, by beautiful female Josephine Baker-types or handsome male Maurice Chevalier-types.

Plus, I think the trickster in Sondheim loved the idea of writing the Paris-song-end-all-Paris-songs.

You can read about what they went through with Fifi (who feuded with Ethel Shutta) in Ted Chapin's invaluable EVERYTHING WAS POSSIBLE, but here's what she was like when she was young:

http://youtu.be/DCF50DID3LE

Fifi D'Orsay in "The Girl from Calgary," a 1932 talkie:

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What Prince and Bennett did in their staging was the magic cream that created the delicious layers in the original- without that you have a very thin crepe indeed.

I love this statement Michael Bennett. I love the way you express yourself.

Again, a disclaimer for not having been around to see the original production, but I don't understand really why a reunion grounded in realism is a notion that is outright wrong. I actually appreciate some of the realism in the first act, because it makes the follies and the transition into Loveland that much more striking. It's as if this haunting notion has been lingering over the show, and it finally manifests in a climactic moment. If the entire thing were projected as being a dreamscape/abstract, much of the stakes are lost.

Once more, my interpretation, but I don't think Follies is as plotless as some- even Sondheim himself- claim it to be. I think more than Company it has actual stakes and relationships that can be resolved in the plot of the show, and that's why I like its structure better than Company's. Much of the reason some people disliked the original (as I've heard) was because they couldn't find any point to grasp onto in it. But with things like the slight humor that comes with reunions, there is more for the average theatregoer to connect with. Maybe Sondheimites or what have you are able to more fully process and understand the concept of a show that takes place entirely in a dreamscape, but the public at large general don't appreciate that, and with a score/concept as marvelous as Follies, I don't see the harm of a little pandering here.

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Updated On: 5/15/11 at 02:57 PM

"it's good that we have true dramaturges (like PJ and MB) around here."

Indeed - there've been some great posts recently.

Looking forward to the PJ Report next week.

GRRR. Twice now my computer has frozen/crashed as I'm writing more of my thoughts.

I'll try again later, lol.

Updated On: 5/15/11 at 05:31 PM

Let me try this again! Some more random thoughts (maybe some SPOILERS?)

- I enjoyed last night's performance slightly better than the matinee. Bernadette's vocals were stronger, and she did less of her Desiree.

- Bernadette's entrance and exit are two of her BEST moments in the show. When she enters during the prologue, her Sally is totally overwhelmed by being back in that theater. She takes time to soak in the environment, and starts her small speech later than any other Sally. Her exit is also stunning. While it's not the dialogue I had wanted, Bernadette really nails it. When it comes time to leave, she takes her time again, almost contemplating staying. She composes herself, takes one last look, and walks out right in front of Buddy, completely oblivious of his presence. It had the right sense of hopelessness.

- Sally's red dress also started to make sense to me. In Too Many Mornings, Sally sings: "How I planned what I'd wear tonight..." Bernadette's Sally wears this red dress (probably her best) in hopes of reclaiming her lost love.

- Apparently The Right Girl has been restaged. Margie is no longer making an appearance, as had been mentioned earlier. The song uses the truncated "Ah, SH*T" ending, which I'm not a fan of.

- One More Kiss is total perfection. beautifully haunting.

- I love the showgirl ghosts wandering around the stage during the intermission. It worked for me.

- For act 2, we moved to the front orchestra. And the Loveland drops were even more hideous up close. A really disappointing reveal. Not what it should be. Thank god for the costumes though.

- I'm not a big fan of Bernadette's Losing My Mind wig. Wasn't too flattering. And for anyone who cares, she sings the higher final note.

- The male choreography in Lucy and Jesse is overdone. And Jan's dancing is too wooden. She really should be performing Ah, But Underneath.

- I really wish we had a better Who's That Woman?. And I miss the younger ghosts in the other pastiche numbers.

- Question. Did the original production not have the party guests mingle in the background throughout the show?

Updated On: 5/15/11 at 09:57 PM

Nope, only during Buddy's Blues.

Thanks, ljay.

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I'm totally new to Follies (I know how shocking that must sound) and was wondering what is the best and most complete recording I should buy?

Great, thank you so much!

Once the Kennedy Center production was announced I knew I had to go see it, but also realized that I was totally unfamiliar with the show!

The OBCR is basically useless to me. It's simply missing too much. I listen to the soundboard recording when I want the OBC. It's an amazing experience, but the OBCR is not. It's just not a great introduction for a new listener. The Papermill album is more appropriate, in my opinion.

Updated On: 5/15/11 at 10:46 PM

If anyone has the OBCR Soundboard recording of Follies can they PM me? I lost it due to a hard drive crash and would love it again.

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