Follies

The plot couldn’t be simpler: Former members of a theatrical revue assemble for a reunion in the theatre where they once strutted their stuff. Chief among them are unhappily married couples Phyllis and Ben alongside who they used to double date and almost wife swopped, Sally and Buddy.

The theatre is due to be torn down, which serves as a metaphor for the crumbling of old dreams and troubled relationships within the show.

But as you’d expect – Sondheim (Music and Lyrics), working with book writer James Goldman, never takes the simple option, so he brings in ghosts of the characters’ earlier selves allowing us to cleverly glimpse into their past and see their memories acted out by their younger selves in the flesh. The strongest statement by Anthony Williams (Director and Choreographer) was how beautifully and delicately the ghosts were portrayed with a symbolic use of monochrome costumes alongside the clever and clear staging to symbolise who was the younger version of who, this was very effectively revealed making it visually apparent and alluring.

‘Follies’ is a hugely ambitious work, the original 1971 Broadway incarnation closed in the red. It’s also one of Sondheim’s most tinkered-with pieces, with scenes and songs shifted around or cut entirely, and ‘Follies’ – despite numerous revivals – has proven to be more of a critical favourite than a crowd-pleasing blockbuster.

With the way this musical is constructed, we see several characters who only really make one appearance, perform one number then vanish. If you were to hear some of the epic anthems in this score, the depth and scope required for the characters who perform them are almost as though they’re a central player - someone you’d think we’d attached to for several scenes in the show before their shining moment …that’s certainly not the case with ‘Follies’ – so it’s not really enough to simply walk on and sing a nice song in a show like this, these characters have complexity which needs to be crafted and uncovered during their five minutes of fame or the presentation can and will only feel like a concert. I felt that the direction to explore some of the numbers within this show along with what they actually mean and represent was quite a crucial oversight. It just so happens to be that the numbers I’m referring to are the more recognisable songs from the show and have indeed become an anthem in their own right – so this, naturally, adds extra pressure to get the delivery of them nailed. 

The concept of the presentation was most agreeable with a static design that had been stripped right back whilst still preserving an air of grandeur. The orchestra were positioned on stage behind gauze tabs, towers of scaffolding draped with white and soft grey fabric were positioned around the space which were beautifully lit to interpret opulence when needed. A stairway spanning the width of the raised performance area brought the action down to floor level where the majority of the piece was played.  

To present this show, every department is immensely challenged – just being able to (convincingly) cast it is no mean feat. Musically - it’s a tough choice, the characters are eons away from being two dimensional, the scope for startling choreography is ample, you need a glamorous and glitzy wardrobe department …I could go on.

What a treat and pleasure it was to experience a full orchestra to give justice to this majestic thrill-after-thrill score, to experience this orchestra would be worth the ticket price alone, sheer luxury which Steven Mercer (Musical Director / Conductor) showcased in his exceptional duty.

It was a shame, however, that the sound technicians hadn’t yet mastered the balance of the mics on the cast with the mics in the orchestra as I couldn’t hear any of the dialogue which was underscored. As frustrating as this is, I must emphasise that this was an opening night viewing so such technical glitches could/should be expected, however, I’d be surprised if people who didn’t know the show grasped what was going on as a result.  

‘One More Kiss’ and ‘Losing My Mind’ are my most cherished moments from this production which were both delivered with expert understanding and technique as actors and vocalists.

Posture from some of the showgirl / ghosts needed some attention, rounded shoulders and lack of ‘lift’ from some of them diluted the representation of what these follies should be. I would have liked to have seen more of the choreography opportunities taken advantage of, the Finale ‘Live Laugh Love’ was especially static for such a rhythmical, toe tapping number.

This society has a remarkable level of talent, I wouldn’t say that the show had any weak links exactly, a lot of the things which weren’t ideal were covered up enough to get away with it which is an impressive achievement for any production of this show, amateur or otherwise.

Vicky Clarkson gave a stellar performance as Sally, she delivered her warm, bubbly and charming character whilst subtly exposing her insecurities topped off with her terrific vocal ability.

Joanne Gill gave us a proficient and component enactment as Phyllis, I didn’t get the fiery and venomous qualities that I expect from this character, it was evidently a character choice to bring a more subtle and delicate impression to the role but non-the-less we still got a well-rounded and skilled act from Joanne.

It’s very sad to say but I found it a struggle to understand the husbands (Ben played by David Gill and Buddy played by David Norris) particularly because it wasn’t entirely their fault. Their articulation technique needed to work overtime due to the failure of the sound quality, it almost feels unfair to comment on these two chaps as I didn’t really get the opportunity to experience their full performances which were let down by the technical issues.

Peter Rigney and David Barrett put in two stellar supporting performances as young Ben and Buddy respectively, two experienced ‘triple threat’ showmen both with the golden age Broadway charm.

‘Follies’ is more about coming to terms with difficult, though not intolerable, truths than getting a happily ever after, it’s a wonderful show and a stellar choice for this company. This show is one of the glories of the American musical and this “Follies” has a thrilling orchestra and some terrific highlights indeed.

Many congratulations BLOS.

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