The Official Kennedy Center FOLLIES Thread- Page 4

[SondheimFan5]

Posted: 5/8/11 at 12:36am

Also, is Bolero indeed out??

edit: and THANK YOU Katurian! Updated On: 5/8/11 at 12:36 AM

[Katurian2]

Posted: 5/8/11 at 12:38am

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

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

[binau]

Posted: 5/8/11 at 12:38am

Kautiran2 did you watch John McMartin's "The road you didn't take" on the Birthday concert DVD? (I mean, I'm wondering if you still don't like it much despite this performance)

[Katurian2]

Posted: 5/8/11 at 12:43am

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.

[Simon4]

Posted: 5/8/11 at 12:48am

I was at the show tonight and just wanted to say that all of Katurian2's observations are spot-on. Overall, the show felt a little tentative tonight -- it was the first performance with an audience of any kind, and Jan Maxwell said afterwards that "everyone was petrified." It didn't really cohere into a compelling narrative (though perhaps that's an insoluble issue with the book). But undeniably some great performances and numbers, along with a few that didn't work, or weren't as good as they should have been.

Some thoughts:

"Who's That Woman" was definitely the highlight of the first act. Linda Lavin's "Broadway Baby" felt overly mannered and was underwhelming. "Ah, Paris!" was kind of a disaster. Agree with Katurian2's comments on Elaine Paige -- I thought "I'm Still Here" took a little while to take hold and could have used stronger characterization (though perhaps that's just the mental comparison with Stritch talking) but was powerfully sung.

Bernadette's singing wasn't flawless, but it was compelling in its understatement, vulnerability, expressivity of character (particularly in "Losing My Mind").

Jan Maxwell was a revelation: both "Could I Leave You?" and "Lucy and Jessie" were fabulous. Her acting as well.

The intermission comes in an odd place, after "Too Many Mornings," and "The Right Girl" doesn't seem like the right song to draw the audience back into the show.

Sondheim was at the show, in Row W in the orchestra.

Most everyone came out the stage door and signed (except for Sondheim, who rushed out and avoided everyone), though I didn't wait long enough to see Danny Burstein or Ron Raines.

[miss pennywise]

Posted: 5/8/11 at 12:48am

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.

[ljay889]

Posted: 5/8/11 at 12:52am

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

Omg, does she mention it during the ending? Or are you referring to when Young Sally says at one point that she would kill herself without Ben?

[somethingwicked]

Posted: 5/8/11 at 12:56am

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!

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

[miss pennywise]

Posted: 5/8/11 at 1:02am

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

[ljay889]

Posted: 5/8/11 at 1:04am

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

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

[miss pennywise]

Posted: 5/8/11 at 1:24am

Yes, dearest, during the finale.

Are you happy now?

[ljay889]

Posted: 5/8/11 at 1:26am

Very!

[miss pennywise]

Posted: 5/8/11 at 1:27am

Wait till you see the show! Then you'll REALLY be happy!

[ljay889]

Posted: 5/8/11 at 1:27am

Oh, I believe it! Cannot wait.

[miss pennywise]

Posted: 5/8/11 at 1:30am

I forgot to mention that Regine is also delightful!

(Just a little sad that Florence Lacey doesn't have more to do. )

[miss pennywise]

Posted: 5/8/11 at 1:33am

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

[devonian.t]

Posted: 5/8/11 at 2:20am

Stuck in england, this is the show I long to see. It sounds like it is approaching "definitive" status!

[miss pennywise]

Posted: 5/8/11 at 2:42am

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? )

[aasjb4ever]

Posted: 5/8/11 at 7:10am

Ho.Ly. Crap. I woke up this morning to 50 new posts since 11 pm last night. This production sounds like it will be one for the history books and generations of nay-sayers kicking themselves that they didn't see it.

[PalJoey]

Posted: 5/8/11 at 7:30am

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?

[shrekster224]

Posted: 5/8/11 at 7:57am

Hopefully it transfers. It'll snag a lot of Tonys, and I hear Jan Maxwell has it in the bag.

[Katurian2]

Posted: 5/8/11 at 8:53am

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!

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

[GatorNY]

Posted: 5/8/11 at 9:02am

I'm typing on my phone, so won't post much. I had never seen this show before, and my only familiarity was from the OBCR. This was visually stunning. I was one of the audience who gasped (and cried a little) during the reveal of LOVELAND set. The chaos that took place during Ben's breakdown was so intense, breathtaking and just brilliant. Lastly, I don't have words for Jan Maxwell. She makes everything look effortless. I also loved her chorus boys, handsome men, great choreography for Phyllis's Folly.

[ljay889]

Posted: 5/8/11 at 10:09am

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

[miss pennywise]

Posted: 5/8/11 at 10:46am

I didn't think "Ah, Paris!" was a "fiasco. Regine forgot a line. Elaine Paige forgot a line. Bernadette still has a little too much Desiree in her...it's first preview!

Of course, there were many seats left after intermission, which I find hard to believe, but that's subscription theatre for you!