Tag: Elaine Paige

“Follies” – The New Broadway Cast Recording

Follies - NBCR

Though the acclaimed revival of Follies will end its limited engagement on January 22, the landmark production has produced a staggering cast album, recorded by PS Classics and is without question a must-have and must-hear. The lavish 2-disc set captures is almost complete, capturing most of the score (more on that later) with its original orchestration intact (rare for any musical these days, most especially for a Sondheim show). It also may be the greatest album PS Classics has ever released; regardless of whether you agree with me or not, it is a spectacular achievement.

There are already four official recordings of Follies available on the market. There’s the devastatingly truncated original that preserves some incredible snippets of the performances (particularly Alexis Smith’s “Could I Leave You?” and Dorothy Collins’ “Losing My Mind”), the original London cast with its considerable changes, as well as the famed live concert recording Follies in Concert (or as I think of it, Follies without Context) and the most complete reading of the score, including cut material, the 1998 PaperMill production.

This latest Follies is as essential as these four. While I can’t say the album is definitive (the production and this recording lack the dance specialty “Bolero d’Amore”), it comes quite close. The album carefully captures the show in a way that in some ways improves upon the stage production, most specifically the inclusion of elements from the original 1971 libretto. In effect, the album is more like a radio play. Much of what is spoken is contained on separate tracks so you can program those out if you’re not a fan of that on cast albums (and knowing the friends I have, there are many who are not).

The disc captures the best of what’s onstage: Danny Burstein’s staggering portrayal of Buddy Plummer, with “The Right Girl” and especially “The God-Why-Don’t-You-Love-Me Blues.” Jan Maxwell’s brittle sophistication shines through, and the way she lands “GUESS!” in “Could I Leave You?” is one of the most satisfying things I have ever heard. Bernadette Peters tones down some of the more neurotic aspects of her onstage character for a more solidly sung performance on disc. Meanwhile, Ron Raines lends gravitas and his large baritone voice to Ben Stone’s mid-life crisis.

Onto the featured players, Elaine Paige sings a socko “I’m Still Here,” while Terri White tears into “Who’s That Woman?” which includes all the ad libs tossed around during the dance sequences. Rosalind Elias and Leah Horowitz are in glorious voice on “One More Kiss” while Susan Watson, Don Correia, the glamorous Mary Beth Peil and Jayne Houdyshell tear into the Montage trio. Every song is a gem, and each one has been recorded with great care.

One of the stars of this production, and subsequent recording, is the 28 piece orchestra conducted by James Moore. This production marked the first time I had seen a Sondheim production on Broadway using the original orchestration, and does it make all the difference. Kudos to Tommy Krasker and the team at PS Classics, as this recording brings out the colors and nuances in Jonathan Tunick’s brilliant charts with great clarity.

The double disc album is beautifully packaged by PS Classics, with a lavish booklet including an essay from NY1’s Patrick Pancheco, a personal note from album producer Tommy Krasker and a plot synopsis by Sean Patrick Flahaven. Also included are the show’s complete lyrics, as well as the dialogue heard throughout. Interspersed are some stunning photographs of the production. I don’t remember the last time a cast album was as stunning to look at as well as hear.

“Follies” on Broadway

Follies-poster

A timpani drumroll, a series of minor chords and then seemingly out of nowhere, a showgirl appears. This tall, lithe yet shadowy figure seems frozen in time and space, but as the music takes on a dreamlike quality, she starts to move. But slowly, ethereally; as if of another world. This is the first image of Follies and it seems that for the next two hours, I’m holding my breath in theatrical limbo. The evening is supposed to be a happy reunion of members of the Weismann Follies, but the stage of the dilapidated Weismann Theatre becomes an area for delusions to be exorcised, regrets to be revealed and for the uneasy acceptance that life doesn’t always turn out how we want it to.

Bold and beautiful, flawlessly flawed, Follies is a show with a cult following unlike any other musical I can think of (flops need not apply). The 1971 musical all but shocked audiences with its  unsettling portrait of unhappy marriages and the disillusionment of middle age. There are ardent fans and ardent detractors, and it seems that whenever a production comes to NY, it becomes the talk of the town. Every song, character, line, production becomes the source of dissection and debate; comparisons abound. This marks the second time I have seen Follies live, and I realize that every time I have seen or will see the show, it will be at a different point of my life and that will inform my impact on my life. I have seen this production twice now: its first preview and its opening night.

The original Follies was a benchmark in grand production values and pushing the envelope of what a musical could be. Stephen Sondheim’s score has entered the upper echelon of musical theatre, with an astonishing mixture of pastiche and character numbers.  James Goldman’s book, always a bone of contention for many, is like a surreal Altmanesque puzzle. There are characters roaming in and out, some performing their old numbers, while two main couples confront some unfinished business that has left their respective marriages unpleasant.

Bernadette Peters, while not ideal for Sally, offers a fascinating portrait of depression and mental illness. When she enters at the top of the show and timidly tells the waiter, “I’m so glad I came,” you’re not convinced she is. Sally is a tough sell, and always has been: she’s delusional, angry and disappointed at her life. She arrives at the reunion with one goal: to take Ben, for whom she’s held a torch for thirty years, from Phyllis. Peters starts the show in a darker place than anyone else who’s done the part. Jan Maxwell is a couth delight as Phyllis, brittle, sophisticated and yet the only one of the four who is willing to fight for the relationship. She’s less aloof than one usually expects in the role, but delivers exceptionally on the dialogue and especially in the searing “Could I Leave You?” Ron Raines lends his sonorous baritone to the emotionally stunted Ben. Standing out among this main quartet is Danny Burstein, a revelation as Buddy, Sally’s sad-sack husband. His pain and rage come to a head in “The Right Girl” and brings down the house with “Buddy’s Blues,” but even when he’s not speaking he’s saying oh so much. It’s a performance that will not soon be forgotten.

Starry support comes from grande dame Elaine Paige as Carlotta, strutting around the stage in a sexy blue dress and dropping one-liners like Mae West. Ms. Paige delivers the triumphant anthem “I’m Still Here” with an intensity that seethes with anger and defiance, scoring a mammoth showstopper. (One quibble about a lyric change in this particular song: I hate that Brenda Frazier has been replaced by Shirley Temple. The former is a pointed comment about the fleeting nature of fame, while the latter just feels like a cheap shot). Rosalind Elias, the former Metropolitan star is making a spectacular Broadway debut at 82 as Heidi Schiller, offering one of the evening’s most arresting showstoppers in “One More Kiss” (shared with Leah Horowitz).

Lots of old pros are on hand: Terri White, belting to the rafters and schooling the chorines in hoofing, leads the ladies in rousing “Who’s That Woman?” Susan Watson (on Broadway for the first time since No No Nanette), Don Correia, Mary Beth Peil and Jayne Houdyshell deliver a dynamite “Rain on the Roof/Ah Paree/Broadway Baby” montage. Florence Lacey and Colleen Fitzpatrick add color to ensemble.

Then there are the ghosts, the younger versions of the party-goers, showgirls who float in and out ethereally. Nick Verina has a baritone that perfectly complements Raines. Lora Lee Gayer has created a Young Sally who is uncannily similar to her older counterpart. Erin N. Moore makes quite an impression as Young Stella, as does Kiira Schmidt who practically steals “Buddy’s Blues” as Margie (wait for her slide!)

Eric Schaeffer’s direction is simple and too realistic, with a lot of moments placed in-one which tends to be a bit static. Some of his best work involves the ghosts, especially the moments where past and present intermingle or collide. Warren Carlyle’s choreography is stellar, if lacking in invention. “Who’s That Woman?” is a joyous showstopper but “The Story of Lucy and Jessie” doesn’t quite build as it should (though it’s better now than it was at the first preview). Gregg Barnes costumes are eye popping in their period detail and grandeur, contrasting well with Derek McLane’s eerie set. The literal unit set depicting the dilapidated stage is brilliant, but his Loveland motif is a bit underwhelming. McLane also deserves credit for effectively shrouding the gauche Marquis Theatre interior. Natasha Katz’s lighting design is sheer perfection. James Moore leads the dazzling 28 piece orchestra in Jonathan Tunick’s sublime original orchestrations, some of the most beautiful ever arranged for musical theatre. This alone is worth the price of admission.

The production would be better served if it was performed without an intermission: the tension organically simmers throughout the evening until it explodes into “Loveland.” Stopping for fifteen minutes kills that momentum. Also, it would be nice to see a production of Follies that actually uses the full original text. Various lines and pieces that have been excised add more layers to the characters, most especially several illuminating moments for Phyllis and Sally. But any quibbles I may have for this particular production are meaningless. Each time Follies reaches its sobering conclusion, I look forward to the next opportunity to see the show. The revival is currently scheduled as a limited engagement with a closing date of January 22. Whatever you do, do not miss it.

Hat’s Off! Additional Kennedy Center “Follies” casting announced

Whenever a major production of Follies is announced, it immediately becomes an event. The casting news, the production team, the venue – everything about the show is manna for the most die hard Sondheim fanatics. When the show was announced for Encores! four years ago, I remember there were some who felt it wasn’t an appropriate choice for the venue, but that didn’t curb audience enthusiasm. The production sold out its entire weekend run, with such a demand that they added an extra performance. Talk about a Broadway transfer came about, but it wasn’t to be.

Now rumors of this 2011 Kennedy Center revival have been stirring for about a year now, with various names being tossed about as possible contenders for the wide range of available roles. Those same folks who busted down the doors to get into the City Center are now gearing up to take on DC next spring. Already, the production has been extended and will be running at the Eisenhower Theatre from May 7 – June 9, 2011.

The first name to be officially announced sent ripples of excitement through the theatre world: Bernadette Peters will be playing Sally. BroadwayWorld announced that joining her would be John Dossett as Ben, Danny Burstein as Buddy and Kim Cattrall as Phyllis. Casting for those two leading man roles is still yet to be made public, however, Cattrall will not be a part of the production. Instead, the formidable Jan Maxwell – who is one of the great theatre actresses of our time – will be playing the aloof Phyllis, who cuts loose in “The Story of Lucy and Jessie.”

Additional cast members include Elaine Paige, making her first stateside appearance in a musical since her acclaimed 2004 run in NYCO’s Sweeney Todd, will be Carlotta and will belt out the showstopper of showstoppers, “I’m Still Here.” Tony winner Linda Lavin takes on Hattie Walker and “Broadway Baby” in the montage. Terri White, who stopped the show nightly in the all-too-brief revival of Finian’s Rainbow last season, is Stella Deems and will lead the ladies in “Who’s That Woman?”

Susan Watson, one of the foremost ingenues of the 1960s, will be playing Emily Whitman. Watson made her Broadway debut fifty years ago as the teenage Kim McAfee in the original company of Bye Bye Birdie. She also appeared on Broadway in Carnival, Ben Franklin in Paris and No No Nanette. Florence Lacey, whose thrilling belt graced Broadway in Hello, Dolly! and The Grand Tour, will be Sandra Crane. Régine will be Solange La Fitte. Also joining the cast will be opera singer Rosalind Elias as Heidi, Terrence Currier as Theodore Whitman and David Sabin as Dimitri Weissman. Additional casting is pending.

Eric Schaeffer is directing. Warren Carlyle will choreograph. James Moore (of my beloved Ragtime revival) will serve as musical director, conducting the Kennedy Center’s 28 piece orchestra using Jonathan Tunick‘s original orchestrations. Derek McLane will design the set, Gregg Barnes will design the costumes and Natasha Katz will design the lighting.

Tickets go on sale to Kennedy Center members on January 24 and to the general public on January 30. It appears I may just have to clear my entire schedule for the lusty month of May. If you want me, you can find me at the Kennedy Center. And I can tell you I won’t be alone…

“With One Look”

With the release of Patti LuPone’s memoir, there has been a resurgence in talk about Sunset Boulevard in the message board circuit. The musical of Billy Wilder’s legendary film noir classic was big news and big gossip fodder in the early 90s, with music by Andrew Lloyd Webber. The show opened in London with Patti in the iconic role of Norma Desmond, played in the film by silent star Gloria Swanson (in the performance of her career). However, the reviews for the London run – particularly those of the American critics who flew over – were less than enthusiastic. Thus began a series of events that led to LuPone being replaced for the Broadway run by Glenn Close, who was in the Los Angeles company. Lloyd Webber claimed Paramount studios demanded a movie star in the role and well…you’ll have to read Patti’s book for her perspective on the matters.

The show itself became a vehicle for great female stars, with replacements as notable as the originals. This sort of event hadn’t really happened since the original productions of Hello, Dolly! and Mame in the mid to late 60s. Norma Desmond became a role that women wanted to play. LuPone and Close were both replaced by Betty Buckley. Other Normas in the West End included Petula Clark, Elaine Paige and Rita Moreno. Paige made her Broadway debut with this show, closing the NY production. Diahann Carroll opened Garth Drabinsky’s Toronto production. Many other actresses were interested in playing the role, but the show proved a financial disappointment and was not a juggernaut success like POTO. The set was enormous (and temperamental) with the grand staircase coming down from the flies, etc. It was visually stunning, but I don’t think overall it is a good adaptation of the material. There are some interesting songs, particularly the near-arias composed for Norma. (It’s a shame Sondheim didn’t write his version of it).

It’s not quite the Madame Rose argument, but there are many admirers and detractors of the various Normas who power-belted through the show in the mid-90s. Here are five of them:

Patti LuPone (in the original higher key):

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Glenn Close:

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Betty Buckley:

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Elaine Paige:

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Petula Clark:

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Britain’s Got Talent contestant stuns judges

Susan Boyle seemed to be a trainwreck in the making. A 47 year old, unemployed and rather dowdy looking woman, she came onstage with a considerable lack of pretension and earthy charm. The audience (look for the obligatory girl rolling her eyes) and judges were cynical about her, especially when asked who she would like to be compared to and she replied Elaine Paige. Then she opened her mouth to sing “I Dreamed a Dream” from Les Miserables and completely floored the entire audience, judges and hosts. This also might be the only time I’ve ever seen Simon Cowell genuinely smile. Bravo to Susan!