The Official Kennedy Center FOLLIES Thread — Page 15

Roundabout didn't even use that monologue to set up "I'm Still Here." Here's what they used.

Carlotta: So Mitya, here's what it comes down to. Movies, Vegas, Television: I'm a triple threat. I've done them all. But none of that compares to this. There's nothing like the shows we did here. Don't you miss it?

Weismann: Me? I always know when things are over. After this, I did some plays; then that was over. So I married once or twice and that was over. Now Iv'e got an art collection, but sooner or later...

Carlotta: Tell me about it....


In the Encores! version, Weismann delivers that line earlier.

Her monologue about guys not listening to her happens earlierm after Ben's "What we need is a drink" and the first Buddy/Phyllis scene.

The monologue is one of those disembodied, to-no-one-in particular dialogue moments that happened magically in the original.

All of the too-literal directors since have had the stupid notion to turn those into actual "party dialogue," delivered to another guest, making those little snippets and songs like "I'm Still Here" more "realistic" (UGH! that horrible, horrible word again).

Here's a lovely little exchange between the Whitmans, who are often cut. It encapsulates one of the major themes of the show:

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(We move to EMILY and THEODORE WHITMAN, who are posing for a photo with WEISMAN on a flight of stairs. The Whitmans are a tiny, bright, papery couple in their seventies)

EMILY WHITMAN: We met at an audition. Teddy was a doughboy, weren't you, dear? You'd just come back from France and when we danced, my blouse kept getting stuck on all your medals.

THEODORE WHITMAN: Emmy, that's an act we did.

EMILY WHITMAN: Why, so it was. But acts are real, they happen, and I met you, didn't I?

(And now our eyes go to another area, where WEISMAN is talking to a beautiful young WAITRESS)

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Here's a lovely little exchange between the Whitmans, who are often cut. It encapsulates one of the major themes of the show

That exchange is in the Kennedy Center production.

Yay! I'm so glad they're there.

Yes, the script published by Random House. I love it because the the stage directions are very chatty and really give an indication of the non-realistic style of the original production.

It also includes two b&w photographs by Martha Swope. One is Alexis Smith and John McMartin in one of Phyllis and Ben's scenes, with Virginia Sandifur and Kurt Peterson, their ghosts, standing upstage watching them.

The second is from the dance combination of "who's That Woman" after Mary McCarty leaves the stage. It shows Sheila Smith, Ethel Barrymore Colt (whose name alone gave me chills in 1971!), Alexis, Dorothy, Helen Blount and Yvonne, with their ghosts upstage.

The third is from Loveland. Black-and-white but still beautiful.

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Well, you know me. I blame Goldman for everything.

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I saw the show 10 May. Here’s my view: Overall – a great show and a good production. The cast is huge and production values lavish & (mostly) put to good use.

Jan Maxwell is quite good in singing & acting. Her dancing in the 1st half is fine (and actually great in the Mirror number), but she just couldn’t keep up with the choreography in the Jesse number. Granted, it was incredibly difficult – the male chorus was spectacular, but doing all that dancing AND singing the lead, both in top form, requires a super human (or much, much more conditioning/training).

The dream/fantasy sequences are fantastic – the show, cast, direction – everything, really shines here – esp. the young versions of the main 4 characters. ( Actually the young versions of characters are uniformly good to great in this show.) Danny B. is top notch in all sequences : singing, dancing and acting all excellent (really couldn’t be better). And his young protégé is actually quite good. The choreography here (also incredibly difficult) really works well and the performers nail it. Ron Raines is also in top form –esp. the acting & signing – he makes his performance very successful. The Mirror Dance sequence is a blow-out success – Ms. White – and the whole cast – really excel as a company. Again the choreography, staging AND singing are all incredibly difficult. Bernadette Peters is very good and this role is a good stretch for her; she’s a very particular performer, sometimes seemingly underwhelming – but when you see it again (as in memory) it’s always successfully connects with an audience tuned to her frequency. She’s esp. effective in all her songs in the 1st half and “Losing My Mind” is staged very effectively (it really pops) and sung beautifully in the 2nd half. Bernadette’s acting really sells her character and her dancing is actually quite good, esp. tap (again, in very difficult sequences).

Most of the other performers have a hard time registering with the audience – all that staged walking around in the intro sequences is a bit pandering and boring. It’s like a ‘parade of past stars’ with not much going on – way too long. I wanted to like Elaine Paige and she was fine – just not outstanding. The material works but she isn’t doing anything special with it. Likewise with Linda Lavin and ‘Broadway Baby’; OK, but not enough to make the song her own. Maybe they just need to get more comfortable/be longer in their roles.

Cheers

^ It's "pastiche."

Saw the show this evening (Friday, May 20th). Had a marvelous time. No doubt in my mind that if this show moved to New York, as is, it would win Best Revival Tony next season. No doubt.
Bernadette giving a subtle and nuanced performance. The role has been sung better, but she brings true star quality to the role and is looking lovelier than ever. Jan Maxwell, acts the role of Phyllis as good as anyone I've ever seen. Sexy and smart. Danny Burstein is a revelation. The best Buddy ever. Yes, and I saw the original. Ron Raines is magnificent. The voice alone, but then you really care for Ben, in a new way. The costumes are gorgeous, the set is appropriately eerie and the lighting & sound were terrific as well. And a huge orchestra playing those Tunick orchestrations!!! I cried from the first downbeat. The ghosts are creepy and hang out during the intermission, which is a terrific idea. The supporting cast was, for the most part, excellent. Linda Lavin singing the hell out of Broadway Baby and Elaine Paige belting a visceral I'm Still Here. Yes, Regine is not up to the others. Oh boy. It's true. Not very good. Choreography was good, but at moments not. Same with the directing choices. But these are minor quibbles considering it is such an expensive undertaking. This Follies is as good as I've seen since the original. I'm so happy I saw it. Hope it moves to NY so I can book groups to see it.

There's a couple new photos from the production on the Playbill site accompanying the article about opening night for "Follies" tonight. A picture of Sally in Ben's arms (reminiscent of Nellie in Emile's arms), and a front view of Sally. I'm still not convinced that the red dress, however gorgeous on Bernadette, is appropriate for the character of Sally, but I guess I can make up my mind when I see the show. (oh, and both photo credits are to Joan Marcus).

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Why, chewy???

I hope the reason for the red dress was NOT "We have a big star here and we can't put her in something plain."

It just seems so out of character for Sally. More like something Bernadette Peters would wear to the opening night of Follies in 2011 than something Sally Durant Plummer would wear to the closing of the Weisman in 1971.

But in honor of the costume choice, I will wear a bright red polo shirt tomorrow afternoon.

And I will refrain from shouting out, "Red is Phyllis's color!"

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(Not convinced.)

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I'm surprised that more production photos/videos haven't been released. What are they waiting for?