The Official Kennedy Center FOLLIES Thread — Page 21

The group interview is a fantastic video! I love Jan Maxwell.

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Sweet! I'm used as a pull quote for the advertising for that pillow! I'll have to take my picture next to that sign when I go to see "Follies" on Tuesday. I may actually have to buy one there now also on top of the ones I ordered

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Updated On: 5/29/11 at 02:05 AM

Saw it last night from Orchestra Row R center. My thoughts:

I was in awe at the start of the first act, from the first tympani roll and the truly stunning orchestra playing such an amazing score. It just kept getting better from there. I was almost in tears at the end of Beautiful Girls--something that rarely ever happens, and I don't know why it happened for this show. Stunning.

Overall the cast was superb. Bernadette was excellent but not the best in the show. I loved her in Act 1--her "Buddy's Eyes" was stunning as was Too Many Mornings with Raines. (and she had wonderful head voice for a change!). but Act 2 she just wasn't on, and I didn't like her Losing My Mind. She wasn't the only thing that wasn't on in the second act thouggh (more to come later)

Jan Maxwell was the strongest of the women. Her performance was dynamite, the perfect Phyllis. I didn't mind that she really didn't 'dance' much in Lucy and Jessie (wow -- fantastic male dancers). Great singing.

Danny Burstein was delightful, he really played the character well. The only thing that bothered me was a lisp that I had never noticed before---has he always had this??? He had the audience eating out of the palm of his hand.

Ron Raines was excellent. His voice is rich and powerful at times and soft an gentle at others. He commanded the stage when he was on, and I very much enjoyed his 'Road You Didn't Take'. (and I saw him in the main lobby before the show--looked like he was coming back from a jog or something!)


and now the supporting roles:
If the show does transfer (anywhere), I can definitely see David Sabin, Terrence Currier, Regine, and possibly Michael Hayes being replaced--they were OK (Regine wasn't nearly as bad as people said) but there are definitely better people out there.

Susan. Watson. What a delight onstage. I wish she had more to do because she lit up the stage whenever she was on. I also wish they had DANCED more during 'Rain on the Roof'--I don't think Terrence Currier is actually a dancer.

Linda Lavin was exceptional. She wrung out every laugh in "Broadway Baby" even though she messed up on a lyric or two. SHe almost wrung it out too much but it worked! If this show has a life anywhere else I'd also love to see the Montage restored--yes, it gives Broadway Baby a big solo finish for Hattie without the montage, but I know Sondheim did not originally want that as a big solo finish.

There are no words for Terri White. She was dead on as Stella and she brought a new take to the role. She's a pretty good hoofer too!! And I'm thrilled that they did the WHOLE number and didn't make cuts.

Elaine Paige really brought the house down with "I'm Still Here". She belts her lungs out at the end though I wish she had sung more of it instead of speak-singing, especially in the end.

Rosalind Elias was very good. She didn't blow me away but she was very good, as was her young counterpart.

The Young Four were very well-cast and they were similar to their older counterparts in a good way (but they didn't try to mimic or imitate them).

The costumes were simply stunning, though I think they could have done something better with the ensemble for Live Laugh Love and Lyct & Jessie. I'm in the minority but I didn't mind the red dress.

I liked the 'regular' set, and loveland was good but very simple--almost too simple. I'd love to see some more variation in just the regular set for Loveland and in what is there for each folly--maybe something different/new for each one whether it's the curtain, lights, whatever--something to jazz it up a bit more.

Lighting was really beautiful, it set the mood so well. And PERFECT sound--and it is VERY VERY hard to find good sound these days on broadway and especially in regional theatre.

Act 1 was, overall, absolutely wonderful. Act 2 was a bit different. Act 2 just lost energy and wasn't as coherent as Act 1. I know this is probably mainly because of the intermission which, though it would be a long show, is pretty unnecessary.

As Michael Bennett once said (I think I'm paraphrasing here...), "90% of follies is the greatest musical ever written," and that is still true today. It is flawed, but they are doing their best to make it a great production. The woman next to me, a longtime subscriber, looked to be in her 70s or 80s, said at intermission that "it was irrelivent to today and overall not enjoyable." I guess some people do not understand it.

Overall, it's one of the best shows I've seen in a long time. Amazing production values and performances. Direction and choreography could be spruced up if the show gets a transfer (especially choreo)....but, to quote Sally, "I'm so glad I came!"




SIDE NOTE: All but Raines and Burstein came out at the stage door, and they all signed. Very very pleasant people and very thrilled to be in the show. Very short as well (and i'm only 5'9)--they look much taller onstage!! Bernadette seemed like she was in a daze at the stage door. Susan Watson had grandkids with her! Terri White seemed the most personable. Regine was still spacy.

PJ, we worshipped at the altar of Miss Holly this afternoon. She's front and center and every bit the star!

PJ, Please tell me she brings that pillow with her to bed, and it's not a posed shot. I can't have my dreams smashed...

Katurian, I think you're right and anyone who calls it irrelevant doesn't understand what the word means. I *suppose* it could be found personally irrelevant, but even at 12 when I fell for the show I found a lot I could relate to--and much more now 18 years later.... (In other words, anyone who might find it personally irrelevant is not someone I'd want in my life)

Katurian, I don't understand the argument of irrelivence either...ah well...some people just don't get the show, and this woman (though she had seen a lot of theatre) was clearly stuck in her ways and is probably used to the classic Carousel, My Fair Lady, 42nd Street musicals. ah well...everyone's entitled to an opinion!

Hi, Neal! It's been a long time since we met when Liza did the Palace!

I am so glad you loved FOLLIES in DC. I felt exactly the same way...I thought it was "so very sad" as well. And brilliant, too!

I am seeing it again on Wednesday.

Hope all is well with you.

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as did Dottie Collins.

If the number calls for a 1930s screen seductress, I'm sure Bernadette's version is wonderful. I can't wait to see it for myself!

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I think there's a difference between being dated and 'in the moment.' The original 'Follies' has been described as being so completely of the moment that in addition to its meritous production factors, the show greatly worked for that reason. However, I think truly great material can be of the moment beyong the immediate ones near which it was conceived. Part of that depends on its script (RENT for example may have difficulty ever being as 'in the moment' as it originally was), and part the direction. A show can be decades old and be put 'in the moment.' Maybe this is where the new 'Follies' direction has failed a bit, if it fails to convey this. But I can think of a show like 'Our Town' that felt as immediate and important at the Barrow Street Theatre a few years back as it must have when it was performed for the very first time.

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Here's hoping those who made the pilgrimage from the Windy City are seeing a show that surpasses some of their dreams and at least lives up to the others.

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There's one thing that will always keep FOLLIES relevant and "in the moment," despite the merits and flaws of any production: its basic theme.

Everyone eventually has to face that "road you didn't take" and look back at their lives. Whether they decide to do something about it or continue to live in denial is their decision, another "road" to take. That's what will always be, IMHO, FOLLIES greatest strength and keep it current, and will also always be its greatest flaw, because most general audiences, like that elderly women, don't want to face the unpleasant truths of their lives.

I saw the production on Sunday afternoon, and I loved it (with reservations.) I never saw the original production, which may be a regretful blessing. Of the productions I've seen, this one truly nailed (again, IMHO) the bittersweet tone of regret that I haven't experienced in any other production I've seen with the exception of ENCORES in 2007 - that's the one production which remains the benchmark for me.

And of the four leads, I was most touched by Danny Burstein. His performance is made up of such beautiful, detailed moments that keep building and building throughout the show - he creates a truly heartbreaking and very, very human Buddy.

Is this the perfect FOLLIES? Will there ever be a perfect FOLLIES?

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