The Official Kennedy Center FOLLIES Thread — Page 4

Yup, Bolero is 100% out, though not necessarily missed!

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Updated On: 5/8/11 at 12:38 AM

You're so welcome!

I have seen McMartin's 'The Road You Didn't Take,' and I thought his interpretation was wonderful, and it did give me the impression that it isn't so much a bad song, as it is badly placed in the show. It brings the 1st act to a bit of a standstill, and to me fits the tone of the 2nd act's breakdowns more than the first. It's not a breakdown per say, but I just have never liked how it has slipped in. Raines played it a bit darker and less upbeat than I've heard some versions of it done, which I did like more, but I still wasn't won over by it.

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I'm a tad tired to give a lot of details, so I'll give you the short version of the details.

I cried through most of the show. First of all, this was my parents' favorite show, and May 7 is the day my Dad passed away. My sister and I used to sing "Young Phyllis" and "Young Sally" while my mom was the grown-up women. (She had an amazing voice, my mother.) Naturally, my Dad was all the men. So, I felt very connected to the original production, which I know by heart. (Seeing Sondheim outside the theatre before curtain also took me back.)

Jan Maxwell stole the show. BEST Phyllis I have ever seen. SHE seems like the star, not Bernadette. She is breathtakingly beautiful (and 55! God love her!); her dramatic scenes are devastating; and she sells every number with panache. I have loved her for a long time, but now I am smitten!

Danny Burstein's "God Why Don't You Love Me Blues" was PERFECT. It's exactly what you imagine Danny Burstein's take on the number would be. He is by turns goofy and heartbreaking.

Bernadette Peters appeared to have a little voice trouble tonight, and I don't think she has nailed Sally yet. But she's Bernadette, so she'll be fabulous by tomorrow.

Ron Raines is, for me, the greatest surprise. His acting, singing and posture were just pitch-perfect. His breakdown at the end is absolutely gut-wrenching. I was really impressed by him.

Linda Lavin does a great "Broadway Baby." It's like she just stepped out of the Orpheum Circuit.

Elaine Paige is precisely what you think Carlotta would be like. She's got a no-nonsense air about her and yet is engaging and charismatic.

Terri White brings down the house! Why doesn't this woman have a Tony????

Rosalind Elias is just darling. She's what every one of us on Broadway World wishes our grandmother was like! And Leah Horowitz, who plays Young Heidi, has a truly lovely voice.

Susan Watson is adorable! I can't beleive she's almost 70! Kim? Nanette? Still has that bubbly, perky personality too.

The ghosts are mesmerizing and GORGEOUS, as are the costumes. I am very biased about Gregg Barnes; I think he's the best costume designer in the theatre today.

The set is eerie and dazzling. Derek McLane is understated all the way.

Choreography = superb. Warren Carlysle really uses all the women to their best advantage.

Eric Schaeffer should be very pleased tonight. I happen to find him an excellent interpreter of Sondheim's work. But tonight was a triumph beyond words, IMO.

If this show does not transfer, I will be shocked!

BTW...the ending is NOT the Roundabout's (thank gawd) and Sally DOES mention suicide.

Oh, and the "Young" characters are fine, especially Sally, Buddy and Phyllis. Young Sally and Buddy are like spitting images of Bernadette and Danny. I also think the actress who plays Margie, Kiira Schmitt, is a riot!

I hope this helps.

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So many of the older women are truly bona fide dancers. I hope Warren Carlyle utilizies that in order for them to really let it rip during "Who's That Woman?," in contrast to Carol Woods singing her face off while everyone just sort of swayed in the back and let the ghosts do all the work in the 2001 revival.

Jan Maxwell's comments recently about two hours of daily dance everyday in rehearsal dedicated specifically to that number lead me to believe they are working hard!

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Updated On: 5/8/11 at 12:56 AM

ljay, Bernadette says it, not "Young Bernadette."

Ah, good! Not to be a pest, but she says it during the finale, right?

Very!

Oh, I believe it! Cannot wait.

Just one more thing: that pillow IS awesome! (And I rarely use that word, so you knows it's "special.")

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So sorry...I would be remiss if I did not mention the ensemble. I'm not an "automatic ovationist" by any stretch of the imagination (in fact, I have been known to sit during an ovation when I dislike what I've seen so much that I'm not even curious enough to stand up in order to "see" over the heads of the audience)! BUT as soon as the lights came up and the ensemble appeared, I leapt to my feet like a Tom Cruise-wannabe!

Extraordinary ensemble!!!

(I REALLY liked this production. Does it show? )

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I cannot wait to see the "Who's That Woman?" I haven't seen a good one since the original.

And there is no good place for an intermission. The musical proceeds on an inexorable path toward Loveland. Anywhere you stop before that breaks the spell.

And as for "The Road You Didn't Take," maybe you're still too young (or unspoiled) to appreciate it. In 1971, I thought it was pompous and over-serious and weighed the show down.

In 2011, I am shocked that Sondheim could have written a song about the me I became, so many years before I became him.

You take one road. The decades fly.
They yearnings fade. The longings die.
You learn to bid them all goodbye.
One had regrets,
Which one forgets.
And as the years go by...

The Ben I'll never be...
Who remembers him?

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Ok-will someone please type out a more specific description of the suicide line I so obviously must have skipped over hearing?! X)


SPOILER

I agree about the really odd place for intermission, but putting it right before the Loveland sequence would be too short for the 2nd act, and take away the magic of the set flying in so rapidly. I just don't know where else you would place it. There was quite a nice tableau created for it as well, so at least it was given a bit of a 'cliffhanger' aspect with Buddy looming over the kiss between Sally & Ben. But one of the only pacing problems I had was that it seemed like it took a little too long once the 2nd Act started to reach the follies. Maybe because I was so anxious knowing what may have been coming, but I was sort of just itching to get through 'One More Kiss,' by the end and see what happened next! Luckily, Danny Burnstein was fabulous in 'The RIght Girl,' as was-Margie - it was funny, the actress playing her was one of my favorite ensemble members, just showing up in two songs (the Blues being the 2nd). She was hilarious in the latter with her physicality- getting lots of laughs! And Jan likewise dominated in 'Could I Leave You.' She was aggressive and sarcastic and angry, and just plowed through it in an incredible manner.

PalJoey, that's probably part of it. I guess I'm not quite at an age where I have an excess of roads that weren't taken yet, so maybe it's a song to grow into. But still, it's no reflection on Raines, as I do think his vocals were very powerful.

hah, and yes to 'Ah, Paris!' being quite the fiasco last night! Hopefully it was largely due to the line flub, but it was a bit of a mess!

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Updated On: 5/8/11 at 08:53 AM

There was quite a nice tableau created for it as well, so at least it was given a bit of a 'cliffhanger' aspect with Buddy looming over the kiss between Sally & Ben.

This is why I think the number is the only appropriate place to add an intermission. I feel it works.

Updated On: 5/8/11 at 10:09 AM