Customer Reviews

Follies: The Complete Recording (1998 New Jersey Cast)

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At long last, Sondheim's "Follies" has received a recording that can truly claim to be a complete representation of the show. All the songs from the 1971 original are included, with complete dance music (including the never before recorded "Bolero d'Amour"), along with an appendix of alternate and cut songs, all performed by the excellent cast of the recent Papermill production. Any fan of the musical will want this CD; anyone looking for an introduction can do no better. I do have a few minor quibbles--the artwork leaves much to be desired, three of the songs written for the 1987 London production have been omitted, no longer considered part of the "Follies" canon, and the one surviving song from that production, "Ah, But Underneath" has replaced the beloved "Lucy and Jessie" (the older song is included in the appendix, though, complete for the first time)--and one major one. The album's very perfection seems to be its greatest flaw: the tempos are occasionally leaden, the performances laid back, and the nervous energy that drives the show on stage is often lacking. (A similar phenomenon is observable on the lukewarm 1995 Broadway revival recording of "Company.") But with the opportunity to hear Phyllis's three "Loveland" numbers together on one disc, or "The Right Girl" in the performing version, or the ravishing "Bring on the Girls" (another never-before-heard item), I am more than willing to forgive this "Follies" its shortcomings and give it its place of honor among its predecessors--right next to the stereo.

I was not among those fortunate enough to see this production, but the recording is excellent. Dee Hoty and Donna McKechnie shine (although the best Sally remains Barbara Cook!) What makes this CD so outstanding are the "bonus tracks" - songs cut from the original production that are included here with liner notes from the great Sondheim himself. Definitely recommended for all musical theater fans and ESPECIALLY Follies fanatics!

I was fortunate enough to attend the Paper Mill's production of Follies, and after listening to this recording, I think I was so overwhelmed by the physical aspects (and my foreknowledge of the score) that I didnt notice the flaws in casting and performing which are readily apparent here. Dee Hoty is marvelous, her chic elegance and stunning voice well suited to the part of Phyllis. Donna McKechnie was, in performance, and is, on CD, absolutely perfect for Sally, outshining even Barbara Cook's performance in the 1985 concert. Ann Miller and Kaye Ballard are also great. Tony Roberts, however, was badly miscast, and Lawrence Guittard, though in good voice, brings no emotion to his part. As for the CD itself, many songs have too slick and synthetic a feel to them, and the performers are often WAY too close to the mikes. Many songs are done in either far too slow or fast a tempo, and the chorus occasionally sounds shrill. The additional tracks are great, but I wish Ann Miller could have done all of "Can That Boy Foxtrot!" rather than just the first verse. Also, there are still some missing songs (like the London additions- sure, they're weak, but the recording isnt really complete without them). Overall, however, its far preferable to the original record, and is a good companion to the concert CDs.

BACKGROUND:
Stephen Sondheim's FOLLIES is one of the most ambitious musicals ever written, and considered by many musical theater aficianados to be one of the most influential and important musicals ever written. Its message - depressing yet powerful. Its budget - huge yet necessary. Although the original production ran for almost a year on Broadway, it never recouped its losses. As with his other most successful shows, Sondheim should be credited first and foremost for collaborating with other geniuses. In this case, the credit goes to book writer James Goldman.

THE STORY:
Some people would say that FOLLIES is about the death of the Broadway musical. A reunion is being held in an old crumbilng theater for "The Weismann Follies," an annual revue (obviously based on the Ziegfeld Follies) that played in the 1920s and 1930s. As the middle-aged chorines gather to reminenisce, the shadows of their past youth fill the upstage area. Through fragments of conversations, we come to focus on two of the former chorus girls, Sally and Phyllis, and the two stage-door johnnies who became their respective husbands, Buddy and Ben. As the shared confidences multiply, we realize that the dreams of the young lovers have not been fulfilled, just as the Broadway musicals create fairy tale dreams that no one could expect to come true: diplomat Ben finds no comfort in wealth; glamorous Phyllis lacks purpose to her life; dowdy Sally still carries a torch for Ben; salesman Buddy has a girl in every town.

THE SCORE:
Wow, what a score! Sondheim has written a plethora of wonderful songs for this show. Some of my favorites: "Broadway Baby," in which a former Follies girl derides the chorus girl life, "Who's That Woman?" (better known as "the mirror number"), in which all the ladies dance to a silly song that suddenly has deeper meaning as we watch their younger selves dance it in mirror reflection, "Could I Leave You?" in which Phyllis icily contemplates divorce, and "Losing My Mind," in which Sally recognizes that Ben probably never loved her. The lyrics, some of the finest ever crafted for the stage, are discussed later in this review.

WHAT RECORDING TO GET?
The 1998 recording has a lot of merits. It is supposedly complete, including songs that were cut or replaced over the years. Two of its stars' own careers perfectly match the roles they play: MGM's golden girl of the 1940s and 1950s, Ann Miller, surprised a lot of people by declaring "I'm Still Here" as Carlotta, and 1970s Broadway star Donna McKechnie reappeared on stage after a long hiatus - similar to her character Sally.

Especially delightful numbers on this recording include Miller's abbreviated rendition of "Can That Boy Foxtrot!" cut from the show before its initial run, the never-before recorded instrumental "Bolero D'amore," and a great rendition of "Buddy's Blues." The highpoint is the 1987 replacement song for Phyllis, "Ah, But Underneath," sung here by Dee Hoty in all its glorious icy sophistication. Sondheim outdoes himself in the lyrics department on this number. Two samples: alliteration at its best, "She was grand, bland, brave or brisk or brittle," and the six-fold three-syllable rhyme, "In the depths of her interior were fears she was inferior, and something even eerier, but no one dared to query her superior exterior."

However, I would argue that the talents of George Hearn and Barbara Cook probably make the 1985 concert recording the best overall. Highlights from the original 1971 cast recording include the overture as it was originally envisioned and Yvonne DeCarlo (who had just finished her run on TV in THE MUNSTERS) giving her all to "I'm Still Here." Three classic renditions of FOLLIES tunes featured in the 1973 Sondheim tribute album are (former Ziegfeld girl) Ethel Shutta's "Broadway Baby," Dorothy Collins' "Losing My Mind," and Alexis Smith's "Could I Leave You?"

This is one of those CDs that you can just relax to. The rich living music fills your mind and absorbs your every thought. The singing is extremely moving and although short, Michael Gruber's performance in "Who Could Be Blue" is outstanding. You have to hear it to believe how wonderfully refreshing this recording is.