Suffice to say, "Follies" is one of the most legendary musicals. This is for a number of reasons: its creation was one of exhaustion and trial-and-elimination. The Original Broadway Production was curiously received (obtaining either smashing or devastating or, even worse, ambiguously indifferent reviews), and was a box office disaster. Finally, the cast recording infamously cut or short-changed a large portion of the score. Despite the quality of the performers and the production, the recording itself has never felt more than adequate. It's since been revived, albeit infrequently, by notable companies over time. First, there was the recording with the New York Philharmonic in the 1980's, which featured the full, glorious score, as well as several noticeable stars, such as Lee Remick, Mandy Patinkin, George Hearn, Barbara Cook (despite what anyone ever says, I find both her Sally and delivery of "Losing My Mind" exceptionally underwhelming), and Carol Burnett. Then there's the London Cast from the late 80's. Although not perfect, it makes a good listen. Julia McKenzie and Dianna Rigg headed the cast, and made for strong leads (McKenzie's "Losing My Mind" is a force to be reckoned with), although the changes to the book and score detrimentally affected the show as a whole ("Country House" is a enjoyable number, but in no way replaces "the Road You Didn't Take", and the upbeat finale was disgraceful). Dolores Gray excelled with "I'm Still Here", though. The Papermill Playhouse recording in the 90's was acceptable but unremarkable; Donna McKechnie and Dee Hoty made for a lively, but not outstanding Sally and Phyllis. The inclusion of previously cut numbers on the recording made the album a must have though. Though not recorded, its return to Broadway in the 2001 revival was a misfire for all intents and purposes; the leads came across as too old, all too under-sung, and the production too scaled-back, orchestra included (absolutely criminal for a "Follies" production). And the 2007 Encores! production was only semi-staged, but quite well-done considering, despite the miscasting of Victoria Clark (whose Sally was disastrous, though this is forgivable given Donna Murphy's phenomenal Phyllis.)
Then, after a brief but eagerly-anticipated run at the Kennedy Center in Washington D.C., this lush, full-scale, epic revival transferred to the Great White Way. And, THANK GOODNESS it did.
And NOW, to THIS 2011 CAST RECORDING:
I shall start out by stating (that's correct: stating) this is THE definitive recording of the masterwork that is "Follies".
First off, the orchestrations are absolutely exceptional; filled with TWENTY-EIGHT pieces (in 2011? Unheard of!), Sondheim's original orchestral intentions are brought to life like never before.
Now, to the cast...I, among many, consider Bernadette Peters (aka the Goddess of American Musical Theatre) to be the prime interpreter and muse of Stephen Sondheim. Her performances in "Sunday In The Park With George, Into The Woods, Anyone Can Whistle" [yes, I count it], "Gypsy" and "A Little Night Music" succeeded each other in both brilliance, depth and quality. And her performance as Sally Durant Plummer, the former showgirl-turned-depressed Phoenix housewife is, to put it mildly, a revelation. Fragile but naive, she captures Sally's giddy ambivalence from the Prologue absolutely stunningly. Her on-stage nuances are nearly all captured on this recording as Peters clearly "gets" Sally in a way that no one since Dorothy Collins has. "In Buddy's Eyes" becomes even more tragically beautiful than ever; Peters conveys Sally's ill-attempt at a lie exquisitely, making the balled nearly disturbing in its self-delusion and lack of truth. Of course, none of this compares to her truly shattering rendition of "Losing My Mind" (in my opinion, the greatest number in the show.) In Peters' hands, the number becomes an existential piece of devastation and wrenching truth. Her delivery of the climax will tear your heart and soul apart. It truly transcends magnificence. In short, you'll see a tiny, sad woman fall apart in five short minutes; it's breathtaking, Tony-winning work if it's ever existed. Some will declare she's miscast in the part, as the idiosyncratic performance will undoubtedly rub a couple folks the wrong way, however, Peters is playing against type in a part she's clearly pouring her heart and soul into; she's not miscast, not at all, just don't go in expecting a 'scene-stealing, adorable' Peters role as many have come to expect. Be prepared to see a brittle, frail but hopeful and silly woman on the verge of a breakdown...you must see it to believe.
Usually, "Follies" succeeds on the shoulders of Sally and Phyllis; while that's not untrue here, the heart of the show belongs to Peters' Sally and her on-stage husband, Buddy Plummer, played to *true* perfection by Danny Burstein. Apart from maybe Sally, Buddy is quite possibly the most difficult role in the show, yet Burstein pulls it off so exceptionally, and seemingly so effortlessly, it seems impossible no one has before. Burstein isn't showy, he's not over the top, he's just real. He'll put a lump in your throat. His tour-de-force work here delivers 100% of the time...and then some. His "the Right Girl" is simply wonderful. And "The God-Why-Don't-You-Love-Me-Blues" (or "Buddy's Blues") is nothing short of incredible.
As the evening's other couple, we have Jan Maxwell and Ron Raines, as Phyllis and Ben Stone, respectively.
The flashier of the two leads, Phyllis has an easier role, as hers is equipped with one liners and sass to spare. That said, this takes nothing away from the spectacular work done by Maxwell, who infuses Phyllis's lines with sardonic wit with that never comes across as self-indulgent or aware. Her "Could I Leave You?" is a mad, rage-filled, passionate spectacle that believably conveys thirty years of bottled up marital stress (though Donna Murphy's "Leave You" still holds the golden trophy for this song.) "The Story Of Lucy and Jessie" is delivered powerfully, but it's a dance number, so reviewing the recording of it does little justice to seeing it live. As for Ron Raines, well, he's not bad. Not at all. He's just the weakest of the bunch. Granted, he keeps getting better (I've seen him twice live), and he clearly cares very much about the material. He just seems to have some trouble connecting to Ben's insecurities, though his performance on the recording is nearly the opposite: he seems totally at ease in Ben's skin. "The Road You Didn't Take" is powerful both vocally and emotionally in his hands.
In the cameo-ish roles, we have Jayne Houdyshell as Hattie Walker, Mary Beth Peil as Solange Lafette, Terri White as Stella Deems, and Elaine Paige as Carlotta Campion. Houdyshell knocks the iconic "Broadway Baby" out of the park with a sturdy gusto Linda Lavin (who played the role in D.C.) severely lacked. Peil plays Lafette as a slinky yet quirky seductress, and her "Ah, Paris!" only confirms this (a monumental improvement over Regine, who essayed the part, poorly, in D.C.). Terri White tears it up as she leads the ladies in "Who's That Woman". And finally, as Carlotta, the most notable role aside from the lead quartet, Paige takes the standard, intimidating "I'm Still Here" and gives it both a dramatic and vocal heft only equaled by a few of her superiors. Her command of the music, lyrics and character prove that she's still a force to be reckoned with. Her thunderous climax reminds audiences that not only is the song still as prevalent as ever, so is Paige.
In addition to the musical numbers, this recording has gone full-out and recording nearly all of the dialogue from the show. This, in addition to the amazing song recordings, make this album a must-have. The entire plot is comprehensible and now goes hand in hand with the music, whether you're in the theater or listening at home.
Do yourself a favor, PLEASE, it will be for YOU. BUY this recording...for yourself, and anyone else. It is the be and end all of "Follies" recordings. The performances here, especially Bernadette Peters', are NOT to be missed. If you're a fan of Peters, if you're a fan of Sondheim, if you're a fan of Musical Theatre, or Theatre in general....get this album now. You will not have a single regret, nor will you look back.