The Official Kennedy Center FOLLIES Thread — Page 14

You know, at the time, there were some that quibbled about the Papermill
Production, citing that it was too slick and clean, but it really was the last major staging of FOLLIES that came anywhere near the size and the scope of the original. In hindsight, it's a bit of a shame that it couldn't have transferred- it at least had glimmers of the brilliant vision that made the musical legendary-much more so than the current DC production or the Roundabout stagings.

I wonder if we will ever see a major production again that will utilize Vincent and Vanessa and the other characters that haven't been seen since that Papermill production. I keep thinking the next truly great staging of FOLLIES may not happen until it enters the repertoire of opera houses

Updated On: 5/16/11 at 10:32 PM

"As we all should probably have learned by now, to be a Stephen Sondheim fan is to have one's heart broken at regular intervals." -Frank Rich

Boy did I have my heart broken at the Wednesday evening performance of Follies at the Kennedy Center. I've struggled for days if I should write anything as I hate to say anything negative about this beautiful show. But unfortunately I have to agree with what several others have already stated.

Bernadette's voice is not a good fit for Sally's songs. Maybe she could have done it 15 years ago, who knows. And the mugging has to stop. Some of her choices as so wrong for the moments that she plays them, it's baffling.

Speaking of baffling moments, why or why are they forcing Jan Maxwell (who I adore and loved through most of this production) to do that terrible rendition of Lucy and Jessie that makes her look so awkward and uncomfortable. Has Warren Carlyle never had to stage a song around a non-dancing star?!

And then there's the direction. I really wish I could have seen Mr. Schaeffer's other production of Follies to compare and contrast but boy did he miss the boat on this one. From the literalizing of the conceptual metaphors, to the painfully long exit and entrance lags, to the obvious fact that actors on stage don't know when exactly to freeze or not or notice the ghosts or not. Again this has all been discussed at length, I just had to throw in my two cents so I can sleep tonight.

I really, really wanted to love this production and I probably went in with my expectations rediculously high, but it broke my heart to see a production with so much potential fall so short.

I won't go on anymore but I was wanted to note that before the performance began an announcement was made that Regine was sick and unable to perform. Because an understudy was not ready, the role of Solange was to be cut from the performance, including Ah, Paris! Well it certainly made for some very awkward moments and transitions. I have not seen anything written here about her missing other performances, but from her reviews it sounds like I lucked out...

Updated On: 12/5/14 at 12:34 AM

In an Australian COMPANY that Sondheim was actually in the country for, they cut April's character (IIRC) because there was no understudy available.

http://theatrenotes.blogspot.com/2007/07/sondheim-not-happy.html

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Well I hope she's ok. I was at the matinee that day and she seemed fine.

Saw Follies at Kennedy Center this past weekend. Very glad I did as I have always wanted to see it on stage being very familiar with it's music and history. If one can go see it, do! Just a couple of personal notes. Bernadette lives up to expectation in singing and acting though the naivety and disillusionment of Sally seems to be lost in a melancholy sadness. Jan Maxwell's Phyllis in acting, and even singing was great! Simply beautiful in stature but her dancing needed more and dress was not the most flattering. Speaking of dresses, did not particularly like the red "Fancy" dress of Sally, liked the idea of a housewife, "found old prom dress" idea depicted in earlier productions better. Ron Raines, awesome voice and command of stage! Danny Burstein seemed a bit too young for the part and "The Right Girl" was lacking but made up in the great "Buddy's Blues" which he and the girls got dead on! Miss the frumpy old woman to sing "Broadway Baby". Linda Lavin seemed a bit too young or just simply too beautiful from what I would have liked to see. Give me an Elaine Stritch anyday. Elaine Page hit "I'm Still Here" dead on, no flubs in lyrics though can understand how she could. Great Job. Missed the ghosts in the Montage of "Rain, Broadway, and Pariee" and Regine looked drunk or simply lost doing "Ah, Pariee." Loved the chance to see Broadway legend Susan Watson, the original Kim in "Bye Bye Birdie" and Nanette in the hit revival of "No NO Nannette." A real treat. Costumes, especially the ghosts, fantastic and loved them lingering during intermission staring out to the audience or to the infinite. Too small a space than I would prefer for such a show. Terri White, fantastically funny and talented with "Who's That Woman" though miss the original choreography which made the supposed highlight of the evening for me, a downer. It is simply the small stage that doesn't lend to the mirror number executed well. All in all, enjoyed it and hope it finds life outside of DC. Best of luck to all!

In 1995, I saw the Roundabout production of Company at a matinee and Charlotte d'Amboise was out and I guess they had no dancing stand-by/understudy for the role of Kathy so they cut a dance number out of the performance. I really felt kind of cheated. Although with the cast they had, I didn't feel too bad. And Paul in that production was none other than Danny Burstein. Seeing the show on 6/18 and still looking forward to it; I'll be going in with an open mind. Having never see a staged production, some things may look oddly staged but with nothing to compare it to, I'll be fine. Especially after hearing the glowing reports about the full orchestra.

BTW, if anyone has a copy of the Papermill production on video, I'd be very interested in acquiring a copy...

OK, after sorting everything out, I am finally able to go to Washington DC (my first post in this thread lamented about missing it).

And just my luck, they released a few tickets to the night my sister and I could attend (the 7:30 show on Tuesday, the 31). And they seem like pretty good seats. Orchestra, row P, seats 101-102. My sister and I like being on the aisle, and there's the aisle in front of us, so she doesn't have to worry about anyone tall sitting directly in front of her.

I'm so excited! This will be my third production of "Follies" (after the Seattle version with Constance Towers and Judy Kaye), and a concert presentation (Seattle's version of "Encores!" I guess) with local actors. It will be my sister's first version of "Follies". I'm also excited to finally see Bernadette live (I've had a few opportunities to see her live, including an opportunity to run follow-spot on her for a benefit gala grand opening, which I wasn't able to do because I was working on a show at the time (ironically, it was "On The Town")).

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Sally's monologue before "In Buddy's Eyes" is also completely different from the original.

For a show that is so lauded and is the stuff of theater legend it sure has gone through so much tampering, butchering, juxtaposing, etc., etc., etc., etc.

I can't keep up and it's extremely confusing, it's almost headache inducing.

Why all the tampering, why all the changes?

Updated On: 5/18/11 at 05:21 PM

Yes, Hattie's role has always been that size. Lavin truly makes the most of it.

I didn't need oxygen each of the 5 times I saw the original on Broadway. I held my breath from the first thrilling/chilling notes of the Prologue to the moment they let the sunlight in at the end. It had no intermission on Broadway (at least for most of the run), and I preferred it that way.

Then I went to see the 1st national tour and there was an intermission and my lesbian cousin and I turned to each other and said, "They ruined it!"

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Yeah, at Encores! she delivered it to Weismann. At the Kennedy Center, it's delivered to a few waiters. One has a line "I loved you since I was a little boy!" Then she goes into the monologue. The little boy line wasn't in Encores! though. Anybody know where it comes from?

Updated On: 5/18/11 at 06:07 PM