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Follies
Deluxe ed.
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Follies: New Broadway Cast Recording
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Track Listings
Disc: 1
| 1 | Prologue |
| 2 | Overture |
| 3 | Welcome to Our First - and Last - Reunion |
| 4 | Beautiful Girls |
| 5 | You Came; You're Really Here |
| 6 | Don't Look at Me |
| 7 | I Never Get to Talk |
| 8 | Waiting for the Girls Upstairs |
| 9 | Rain on the Roof |
| 10 | Ah, Paris! |
| 11 | Broadway Baby |
| 12 | The Road You Didn't Take |
| 13 | Bargains, Buddy |
| 14 | In Buddy's Eyes |
| 15 | Let's Dish. Tell Me Everything |
| 16 | Who's That Woman? |
Disc: 2
| 1 | I Had a Follies Number Once |
| 2 | I'm Still Here |
| 3 | Too Many Mornings |
| 4 | The Right Girl |
| 5 | Men Are So Sweet |
| 6 | One More Kiss |
| 7 | According to Statistics |
| 8 | Could I Leave You? |
| 9 | You'll Make a Good Wife, Phyl |
| 10 | Loveland |
| 11 | You're Gonna Love Tomorrow / Love Will See Us Through |
| 12 | The God-Why-Don't-You-Love-Me Blues |
| 13 | Losing My Mind |
| 14 | The Story of Lucy and Jessie |
| 15 | Live, Laugh, Love |
| 16 | Chaos |
| 17 | End of Show |
Editorial Reviews
Composer-lyricist Stephen Sondheim and librettist James Goldmans landmark 1971 musical returns to Broadway in FOLLIES. Now, PS Classics and producer Tommy Krasker - who has helmed over a dozen Sondheim cast recordings - preserve this unparalleled work of genius in an expansive two-disc set, complete with 52-page full-color booklet with essay, synopsis, lyrics, production photos and a brief note (below) from the album producer.
Product details
- Is Discontinued By Manufacturer : No
- Product Dimensions : 5.64 x 0.57 x 5.03 inches; 5.76 ounces
- Manufacturer : P.S. Classics
- Original Release Date : 2011
- Date First Available : August 26, 2011
- Label : P.S. Classics
- ASIN : B005IYGQGA
- Number of discs : 2
- Best Sellers Rank: #54,866 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #555 in Musical Soundtracks & Scores
- Customer Reviews:
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Saw the show at the Kennedy Center, and having seen the original had some definite reservations. Thankfully, they were blown away in the first 15 minutes, and the show proved to live up to the original in most ways. It is a true glory of the American musical theater, one of the greats. An adult musical that is not all rosy and happy, yet beautiful, moving, and ultimately heartbreaking. I understand it was even better in NY, having tweeked and made some changes and a couple of replacements (Regine'...ugh!!) for Broadway.
The CD captures all the score incredibly, plus dialogue that tells the Follies story. While I don't think so much dialogue was necessary, it doesn't detract from the quality of the recording either.
The performances are nothing short of dazzling. The leading quartet could not have been better cast.
Bernadette Peters is nothing short of brilliant. Listen to Losing My Mind and hear her slow descent into madness. It was shattering on stage, she turned Sally from a frumpy housewife into an obsessed, and ultimately psychotic and deluded broken woman.
I always felt that the role of Phyllis is flashier (she had big dancing created for Alexis Smith, who probably robbed the incredible Dorothy Collins of the Tony she deserved), has the witty lines, and is less complex than Sally. Yet Jan Maxwell does an amazing job of turning Could I leave You? from an amusing and acerbic declaration of her possible intentions, into a revelation of sheer hurt and eventually rage. It is amazing.
The men are perfectly cast. Ron Raines is the best sung Ben ever put to disc, as for his acting, his performance is all cardboard on the surface, and misery underneath, exactly as Ben is.
Danny Burstein should have won a Tony for his amazing performance as the trod upon Buddy. Complex, amusing, and eventually the real true victim of a loveless marriage. Buddy's Blues is finally performed where it makes brilliant sense.
As for the rest of the cast, remarkable in every way. The 4 young ghosts are perfectly cast, even resembling their older counterparts.
Elaine Paige easily proves why she is a star. I'm Still Here is as good a version, in a long line of exceptional performances of it, as it gets, matching the original of the great, late Yvonne DeCarlo.
Jayne Houdyshell is a delight putting over Broadway Baby. Mercifully the dreadful Regine'(ugh!) was replaced by Mary Beth Peil who is fine as Solange performing Ah Paree! And lovely to see Susan Watson (the original Kim in the original Bye, Bye, Birdie) back on stage, almost as young and fresh as ever!
Terri White stops the show with the ladies of the ensmble, young and old, on Who's That Woman? I remember vividly the brilliance of this number in the original, also stopping the show as performed by Mary McCarthy, and this version is a wonderful match. The rest of the cast are all, without exception, perfect in each role.
The show is dazzling visually, as shown in liner photos included, Gregg Barnes winning a well deserved Tony for the gorgeous costumes. It is a shame the scheduled run in NY didn't last through June, Tony voters would most assuredly have voted it as Best Revival of a Musical over the undeserving Porgy and Bess. But Tony voters (as in most awards) vote for what is fresh in the memory, and since Follies closed in January.... almost as big a crime as Two Gentlemen of Verona(??) winning the Tony for Best Musical over the original. A fact that still has theater afficianados scratching their heads.
The CD...a dream come true for Follies fans!
I haven't seen this production but judging from the photos in the booklet the costumes and scenery are not as lavish as they were in the original 1971 production but they have a large orchestra and a cast of 41.(A reproduction of Follies as it was produced in 1971 would be cost prohibitive)
Elaine Page plays Carlotta Campion whose career is encapsulated in the song "I'm Still Here". When the original production was trying out in Boston, Yvonne DiCarlo had a number called, "Can that Boy Fox-trot". The song didn't work because everyone noticed the tune did not fit with her whiskey, beer, cigaretty voice, so Sondheim fashioned "I'm Still Here" for her and she hit a home run. Elaine Page sings the song well but DiCarlo sounded like she LIVED it.
Danny Burstein is good as Buddy and sounds like he is having fun singing "The-God-Why-Don't-You-Love-Me Blues" and he also socks across "The Right Girl". Unless my memory is failing me I seem to remember there was a longer dance break in the mddle of that number, but then again, Gene Nelson who was the original Buddy and an old-pro dancer/actor and maybe for that production, Michael Bennett may have fashioned a longer dance routine for him.
Jan Maxwell is fine as Phyllis and her cool and brittle exterior crumbles when she hisses and snaps "Could I Leave You" at her in-attentive and workaholic husband.
Bernadette Peters exceded my expectations and she was unbelievably great as the sad, delusional Sally. Dorothy Collins still owns that song but I have no problem with Ms Peter's rendition of "Losing My Mind".. well just one teensie, weensie problem.....the last word in the song is "Mind" and she loudly emphasizes the D so when she ends the number singing the word mind it sounds like DUH.
The score is loaded with goodies including the legendary "Broadway Baby" and other favorites such as "Ahh Paree" Waiting for The Girls Upstairs" "In Buddy's Eyes" "Too Many Mornings" "You're Gonna Love Tomorrow/Love Will See Us Through" "Beautiful Girls" and of course, "Who's That Woman?"
This is the only "Follies" you will need, the full score, intro dialogue for the songs and mostly great performances.
Top reviews from other countries
HIGHLY RECOMMENDED.
Update on this review added 23/06/2017:
The National Theatre on Londons's South Bank will mount a production of FOLLIES later this year with Imelda Staunton leading a distinguished cast. The show will be presented on the theatre's Olivier stage and will be the musical theatre event of the Autumn.
Fingers will be crossed that the production will be an unqualified success, ensuring a possible transfer from the subsidised sector to a commercial theatre after its initial run.
Good Luck to all concerned!
Update to this review: 17/11/2017.
The production at the National opened to unqualified 5 Star reviews and is the finest staging yet! There are no plans for a commercial transfer as the show is of monumental proportions and although it has just had a live relay to cinemas, it will not have a DVD release, though it is to be hoped that a cast recording will be made available.
FEBRUARY 2018 update: The National Theatre have just announced that ‘FOLLIES’ will return to their repertoire early next year (2019) before a hoped-for transfer to the commercial sector....
In the meantime enjoy this excellent Broadway version.
Eric H.
It was delivered in a timely manner and my order was acknowleged in one day. I am in Follies put on at a local theatre.
Hearing the broadway cast and following along with the dialogue has been a great help.
Thank you.
Peu importe qu'il soit compositeur de "musicals" ou "classique". C'est un grand !
Il se refuse d'être considéré comme un compositeur d'opéras !
Son monde c'est les folies pour Broadway , mais quelles "Follies" !!
A un tel niveau , les mélomanes ont beaucoup à apprendre sur l'art absolu des "musicals" américains.
Depuis plusieurs saisons , le Châtelet programme les oeuvres de Sondheim dans les meilleures conditions. Ainsi nous avons pu voir et entendre "Sweeney Todd" et "A little night music".
Après Londres , Paris découvre les oeuvres classiques de Broadway et de l'amérique !
Inutile de chercher une comparaison avec ce que nous connaissons de ce côté de l'Atlantique... Ouvrez vos oreilles et votre coeur .
Il existe plusieurs enregistrements de grande qualité de "Follies" mais , depuis sa création en 1971 , nous n'avions jamais eu une version estampillée "Broadway cast" ce qui la rend légèrement différente des versions de concert , dont une est justement célèbre Follies (US Import) !
Tout d'abord , je veux mentionner le cast , avec une Bernadette Peters rodée à l'art de S.Sondheim , souvent sur le fil du rasoir!
Les autres membres sont tout aussi bons , jusqu'aux second rôles.
L'orchestre de Broadway est conduit de façon stratosphérique par James Moore . Un bon matériel hifi sera bienvenu pour profiter de cette prise de son , réalisée en deux jours à peine dans les studios Avatar par Bart Migal dans une production de Tommy Krasker et philip Chaffin , les deux fondateurs du label PS Classics .
Autant dire que nous avons une version importante d'une oeuvre exceptionnelle .
L'histoire commence en 1971 . Une troupe de théâtre musical est conviée à une soirée d'adieu dans le théâtre ou ils ont connu leurs plus grands succès , des décennies plus tôt... Peut être au temps des "Ziegfeld Follies" !
Le théâtre doit être démoli dès le lendemain.
Nous avons les deux couples "star" dont un a vraiment réussi dans la vie alors que l'autre s'est contenté de succès moyens... Les seconds rôles , les girls , les choristes et l'orchestre.
Weissman , producteur à la grande époque du théâtre , les accueille .
La soirée commence dans l'allégresse et la joie . Chacun se remémorant la gloire d'antan. Rapidement les vieilles rancoeurs prennent le dessus et personnages/personnalités se dévoilent .
Amertume et déceptions font surface au fur et à mesure que la soirée avance. Le temps a passé , la gloire s'est envolée .
La vie ne leur a pas fait de cadeau mais leur réalité est ailleurs . Elle s'est déroulée sur les planches , entourée de girls , de danseurs et d'orchestres de rêve....
Il ne leur reste que ces souvenirs avant que leur théâtre soit rasé et transformé en parking !
Mais quels souvenirs et quelle vie !
A la fin de "Follies" , Sally dit -" I'm 49 years old , that's all i am. What am i going to do....?"
La musique est merveilleuse du début à la fin . Clins d'oeil aux "musicals" à l'ancienne sans oublier d'aller voir du côté de Ravel ( could i leave you ) , compositeur fétiche de Sondheim .
Les orchestrations de Jonathan Tunick sont tout aussi légendaires mais il nous semble les redécouvrir , ici , dans l'arrangement typiquement théâtral que nous n'avions pas entendu depuis....1971.
Bien entendu les puristes souligneront que le "Bolero d'amore" est absent. Ce n'est pas un oubli mais la suppression des deux rôles qui dansaient le bolero.
Pour le reste tout est exact et , parfois quelques récitatifs nous permettent de mieux comprendre certains passages un peu obscurs quand on a pas eu la chance de voir l'oeuvre sur scène , je pense à la toute fin du spectacle.
Ce "musical" est , à la fois merveilleux et terrifiant , lugubre et solaire !
Même si "FOLLIES" fut joué plus de 500 fois lors de la création , le succès ne fut pas au rendez vous.
Malgré d'excellentes critiques , le public , sans vraiment bouder l'oeuvre , ne se précipita pas.
Face aux coûts faramineux de cette production , les producteurs , par sagesse ou par dépit , furent contraints de stopper les représentations.
Par la suite "FOLLIES" entra dans la légende et l'oeuvre voulue par Sondheim fut arrangée pour être donnée en version de concert afin d'en limiter le coût !
Aujourd'hui nous retrouvons un spectacle proche de l'original.
Cet enregistrement s'impose sans pour autant renoncer à la belle version "de concert" (papermill playhouse recording) , voir plus haut.
A mon avis , les deux sont complémentaires.
Tout amateur de Stephen Sonheim saura qu'il ne faut pas laisser passer la chance que nous donne ces deux cd.
Série limité , comme toujours chez PS Classics.
Le livret est aussi complet que possible . Très bien documenté et accompagné de tous les textes chantés.
Parions , qu'après ce nouveau succès à Broadway , le Châtelet de Paris aura l'audace de mettre ce superbe spectacle à son programme !
The really interesting thing about Follies, and maybe the reason why it's never been a great public success, is that these people that we have to spend a couple of hours with, are not very nice people. But the brilliance of the songs reveal why they are like they are. Jan Maxwell is amazing as Phyllis, you end up actually liking her, she allows just enough of the Lucy into her Jessie so to speak. Infact we end up, if not exactly liking all the characters, then at least we care for them.
Hard to imagine anyone singing Im Still Here after Elaine Strich original version ( there's a video on YouTube ), I would imagine any actress would be scared to death of covering that song with Elaine looking over their shoulder, but Elaine Paige doesn't try to steal it from her. Hers is a different performance entirely, it's a fun performance.
This is how a stage recording should be, not just a set of songs, but a taste of the actual show. Treat your self to a copy
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