Saw the show, June 4, Evening.
Here goes. Any director/choreographer who are staging a production of FOLLIES needs to read Goldman's original script and stage directions. I'm not saying they should copy the original but the themes and how they meld and what Prince, Bennett and Sondheim with expert help from Aronson and Klotz,were trying to do, it's all there. I agree with those who would love to see the script as first written. No other adaptation is that radically better or more character illuminating than the original.
Starting with the set. it needs to look like an old ornate theatre that is being torn down and it needs to simulate different areas of the theatre(with a lighting designers help of course)and it needs to change to LOVELAND in some dreamy magical way. This set hardly does any of that, except for the proscenium arch and that small clumsy staircase there are no other remnants of an old theatre anywhere. Just a brick wall with a doorway and two grey structured walkways are not enough. I found the set lacking in every way. The LOVELAND set was fine but not jaw-dropping. I thought there were several costume gaffes, starting with Sally's dress. A lot is discussed about the color, but the color is not the problem, it basically says nothing about the character except that she's hot, and I find that totally wrong. Also Carlotta's outfit (and hair) did not say glamorous movie star to me, she should be as sexy and flashy as Phyliss (if not more so). And Hattie also looked wrong to me. The point of her singing about being a BROADWAY BABY is that now she is the opposite, an old broad who is hard to imagine as a young showgirl. Whether it's Lavin's ego or whatever, this Hattie is way too pulled together and "hip". She sings the song very well but a simple irony is missing. Most of the other costumes are nice, the showgirls being the best, I would have liked the young couples to have some kind of character in their FOLLIES number, but that's minor.
Ms. Peters is terrific and certainly can act and sing this role, her voice was very strong and emotional and her LOSING MY MIND was heartbreaking. Brava! Mr. Burstein is quite perfect as Buddy, all the seething anger and pathos are there, he's so good you forget he's acting. I wish his director and choreographer had helped him more with THE RIGHT GIRL but he takes what was given and makes it work. Mr. Raines is singing the sh*t out of Ben is every bit in the mold. Again a little more help with his breakdown would have been nice but by then I was wondering if the director had done any character work at all.
I know I will be crucified for this but I had quibbles with Ms. Maxwell, who I think is one of our leading stage actresses at the moment. It seemed to me she was trying to soften Phyliss instead of tackling the bitterness she has developed over the years with Ben. She hits all the zingers and wears her party dress(the best) well. But then all got lost with LUCY AND JESSIE. Mr. Carlyle has no idea how to stage a number that makes her look fabulous surrounded by chorus boys. Instead of featuring her assets, the boys are doing all kinds of steps and she is left waving her arms as they suck focus. This, for me, was a disaster and marred her performance.
Elaine Page sings and acts I'M STILL HERE terrifically, but as I said. her look does not help (dirt, there are rumblings Sondheim is not her biggest fan). Susan Watson and Terrance Currier are adorable as the Whitmans but their number and Solange's looked understaged. Mdme Regine got through her number but looked lost. Teri White is killing WHO'S THAT WOMAN (in a good way), she ran out of steam for her "Lord, lord, lord, lord, lord" but made up for it with her spiffy dancing. Anyone else notice only she and Ms. Peters wore tap shoes? But again Carlyle is at sea with the dance break bringing the young girls on in a line from the wing instead of appearing as in memory. The young couples sing very well, but I had trouble telling them apart.
The discussions of if we will ever see the definitive FOLLIES are moot. We who were lucky and old enough to see the original will say we saw the definitive version, but by no means should they stop trying, just as they shouldn't stop doing HAMLET, DEATH OF A SALESMAN or GYPSY. The thing about FOLLIES, including this production (despite my misgivings) is that it is an insightfull and haunting work. Sondheim's score is a complete classic of showstoppers and meaningfull inner and outer monologues full of character, nostalgia and wit, each brilliant in their own way. It is unique in so many ways (except for WAITING AROUND FOR THE GIRLS UPSTAIRS) there are no reprises till the giant mash-up and this alone gives the score a feeling no other show captures for me. Even with the flaws I found this production well worth seeing and I applaud the Kennedy Center for mounting it.
P.S. The Orchestra is fabulous!
Updated On: 6/8/11 at 01:53 AM
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