Follies in Concert

FOLLIES was one of Stephen Sondheim's most glorious musicals with one of the most memorable scores he has ever written. A huge score and a cast of over 40 major characters, it is a huge undertaking in any form and this concert version was no exception. FOLLIES was the story of a reunion that takes place in a an old theater, about to be demolished, among several follies performers from the past, now in their 50's, 60's, and 70's, reuniting for a final goodbye to their theater, orchestrated by the fictional theatrical director, Dimitri Wiseman. The bulk of the show focuses on four central characters, Ben, Sally, Buddy, and Phyllis. Ben and Sally were in love many years ago, but now Sally is married to Buddy and Ben is married to Phyllis but old feelings eventually find their way to the surface in this landmark musical. Sondheim hand-picked an a amazing cast for this concert, headlined by George Hearn as Ben, Lee Remick as Phyllis, Mandy Patinkin as Buddy and the legendary Barbara Cook as Sally. Hearn and Cook flawlessly perform the haunting duet "Too Many Mornings" in which Ben and Sally explore old feelings. Hearn also scores on "The Road You Didn't Take" and Cook's rendition of "In Buddy's Eyes" is just breathtaking and has become part of her current cabaret act. Remick has a ball with "Could I Leave You?" and "The Story of Lucy and Jesse" and Patinkin stops the show with "Buddy's Blues." Other highlights include Carol Burnett as Carlotta, singing "I'm Still Here" and Broadway legend Elaine Stritch, who brings down the house with "Broadway Baby". Phyllis Newman effectively leads the female ensemble in "Who's that Woman?" and there is an amazing quartet called "You're Gonna Love Tomorrow/Love Will See us Through" which features BABY's Liz Calloway and Broadway's current Phantom, Howard McGillen. The version I saw on Showtime also includes backstage rehearsal footage, showing longtime Sondheim musical director Paul Gemigiani coaching Hearn and Cook on "Too Many Mornings" and Lee Remick and Patinkin sitting in a rehearsal hall, mesmerized as Barbara Cook rehearses "In Buddy's Eyes." There is even a moment with George Hearn moments before curtain where he confesses to writing lyrics he tends to forget on his hand. This concert is a must for all Sondheim fans and FOLLIES fans in particular, since this is probably the closest thing we will ever have to a film version of FOLLIES. Don't miss it...a joy from start to finish.

This rare video has until now been selling for $100, used, if you can find a copy. Now we can own it for a song, and watch it anytime!

See this! It is a wonderful evening, and you'll never forget the thunderous ovation the ladies receive in "Beautiful Girls."

"Follies" is Sondheim at the very peak of his songwriting prowess. It's a virtuoso turn with a series of pastiche songs relating to musical theater numbers in a variety of styles. His later works became less reliant on individual songs moving towards an operatic style, which he achieved so beautifully in both "Sweeney Todd" and "Passion". Song for song, you would be hard pressed to come up with a musical as impeccably written as "Follies".

It's a great shame that there is no existing video, or even complete recording of the original Broadway production. It's one of those magical occurrences where it call comes together. There certainly have been bigger stars than Alexis Smith, Dorothy Collins or Yvonne de Carlo and yet the performances of the 1971 production, almost inexplicably, remain distinctly definitive.

From the start "Follies in Concert" was intended by all concerned to become the definitive "Follies", with an all star cast backed by no less than the New York Philharmonic. This was in fact the motivating factor for the event being staged at all. The concert was most certainly a terrific theatrical event. The stars did not disappoint and the orchestra sounded great. But despite this, it widely failed in its quest to become the definitive version. Once again, this is not easily explained. There simply wasn't the legendary magic with which the original production was blessed. You cannot make magic in the theater by employing the very best; it either happens or it doesn't.

The documentary section of this film is of great interest. The musical theater stars such as Barbara Cook, Elaine Stritch, Phylis Newman as well as film stars Lee Remick and Carol Burnett all come across with a rarely seen naturalness. It's as if they are truly humbled by the material itself.

The performance segments are too short for my liking. It's a treat watching these professionals at work, singing such glorious music.

But when all is said and done, this is no match all for the much loved 1971 Original Broadway production.

I've never, ever given a 10/10 review, but this is a no-brainer. I've seen many stage productions of Follies through the years, and I own all of the cast recordings, but this remains my first choice. Sure, it's only minimally staged. And you'd likely make different casting choices if you were doing a full production. But there is a level of energy and excitement about this performance that no other recording captures. Sadly, the recording doesn't contain the entire score, but it's 85% there, and it's all extraordinary. Barbara Cook is heartbreaking. Mandy Patinkin is dynamic. Lee Remick captures the essence of Phyllis. And Elaine Stritch stops the show, as always. Despite the shortcomings and the compromises inherent in a concert performance, this version of Follies somehow captures the essence of the show better than anyone could have wished.

Follies is one of Stephen Sondheim's best from personal opinion. Difficult both vocally and in terms of staging- Sondheim at his most large-scale probably- but the music is simply beautiful and the lyrics clever and witty. The story is very charming and relateable as well. Follies in Concert is a delight, abbreviated rather than complete which may disappoint fans. But because it is so well done and interesting it works just beautifully. Some of the performance scenes are too short and there could have been more too. However, the behind the scenes and rehearsal footage is of great interest, and the performers seem really natural and fully engaged when interviewed. Elaine Stritch's personality just comes to life, and George Hearn from what is heard from it is remarkably candid. The performance and documentary scenes are all well shot and edited, and the sound doesn't undermine the impact of the score too much. The orchestral playing is grand in every word, the rousing numbers have their punch and the more understated ones of haunting quality. The performances are just outstanding and in most cases probably definitive as well, Elaine Stritch and Barbara Cook(In Buddy's Eyes is guaranteed to leave anybody hearing or seeing it in awe) are particularly true to this, while Mandy Patinkin makes the role of Buddy his own and shines doing that and one of the greatest Sondheim interpreters George Hearn sings magnificently with great musicality and technique as well as with a communicative and authoritative presence. Carol Burnett and Phyllis Newman comes across really naturally also. All in all, delightful, very little to complain about apart from some of the performance segments being too short and too few. 9/10 Bethany Cox