Marquis Theatre, (9/12/2011 - 1/22/2012)

First Preview: Aug 07, 2011
Opening Date: Sep 12, 2011
Closing Date: Jan 22, 2012
Total Previews: 38
Total Performances: 152

Category: Musical, Drama, Revival, Broadway
Setting: A party on the stage of the Weismann Theatre. Tonight.

Opening Night Production Staff

Theatre Owned / Operated by The Nederlander Organization (James M. Nederlander: Chairman; James L. Nederlander: President)

Produced by The John F. Kennedy Center for the Performing Arts (David M. Rubenstein, Chairman; Michael M. Kaiser, President; Max A. Woodward, Vice President), Nederlander Presentations, Inc., Adrienne Arsht and HRH Foundation

Book by James Goldman; Music by Stephen Sondheim; Lyrics by Stephen Sondheim; Music orchestrated by Jonathan Tunick; Musical Director: James Moore; Dance Music Arranger: John Berkman

Directed by Eric Schaeffer; Choreographed by Warren Carlyle; Associate Director: David Ruttura

Scenic Design by Derek McLane; Costume Design by Gregg Barnes; Lighting Design by Natasha Katz; Sound Design by Kai Harada; Hair and Wig Design by David Brian Brown; Make-Up Design by Joe Dulude, II; Associate Scenic Design: Erica Hemminger and Shoko Kambara; Associate Costume Design: Matthew Pachtman; Associate Lighting Design: Yael Lubetzky; Associate Sound Design: Jana Hoglund

Executive Producer: Allan Williams; General Manager: Alan Wasser, Allan Williams and Mark D. Shacket; Company Manager: Kimberly Kelley

Production Manager: Juniper Street Productions; Production Stage Manager: Arthur Gaffin; Stage Manager: Laurie Goldfeder

Musical Coordinator: John Miller; Associate Conductor: Marvin Laird; Concert Master: Rick Dolan; Violins: Ashley Horn, Robert Shaw, Una Tone, Karl Kawahara and Kiku Enomoto; Violas: Kenneth Burward-Hoy and David Creswell; Celli: Laura Bontrager and Sarah Hewitt-Roth; Bass: Ray Kilday; Harp: Barbara Biggers; Woodwinds: Todd Groves, Dave Noland, Les Scott, Rick Heckman and Chad Smith; Trumpets: Trevor Neumann, Matthew Peterson and Jeremy Miloszewicz; French Horn: William DeVos; Trombones: Keith O'Quinn, Dan Levine and Vincent Fanuele; Percussion: Charles Descarfino; Drums: Rich Rosenzweig; Guitar: Greg Utzig; Keyboard: Marvin Laird

Casting: Laura Stanczyk; Press Representative: Boneau / Bryan-Brown; Marketing: Type A Marketing; Dance Captain: Sara Edwards; Advertising: Serino Coyne; Digital Outreach & Website: Serino Coyne

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Opening Night Cast

Danny BursteinBuddy Plummer
Jan MaxwellPhyllis Rogers Stone
Elaine PaigeCarlotta Campion
Bernadette PetersSally Durant Plummer
Ron RainesBenjamin Stone
Don CorreiaTheodore Whitman
Christian DelcroixYoung Buddy
Rosalind EliasHeidi Schiller
Colleen FitzpatrickDee Dee West
Lora Lee GayerYoung Sally
Michael HayesRoscoe
Leah HorowitzYoung Heidi
Ensemble
Jayne HoudyshellHattie Walker
Florence LaceySandra Crane
Mary Beth PeilSolange LaFitte
David SabinDimitri Weismann
Kirsten ScottYoung Phyllis
Frederick StrotherMax Deems
Nick VerinaYoung Ben
Susan WatsonEmily Whitman
Terri WhiteStella Deems
Lawrence AlexanderEnsemble
Brandon BieberEnsemble
John CarrollEnsemble
Leslie Donna FlesnerEnsemble
Young Dee Dee
Jenifer FooteEnsemble
Young Hattie
Buddy's Blues "Sally"
Suzanne HylenskiEnsemble
Danielle JordanEnsemble
Young Emily
Amanda Kloots-LarsenEnsemble
Brittany MarcinEnsemble
Erin N. MooreEnsemble
Young Stella
Pamela OttersonEnsemble
Young Carlotta
Clifton SamuelsEnsemble
Kevin
Kiira SchmidtEnsemble
Young Sandra
Buddy's Blues "Margie"
Brian ShepardEnsemble
Amos WolffEnsemble
Ashley YeaterEnsemble
Young Solange

Swings: Mathew deGuzman and Sara Edwards

Understudies: Brandon Bieber (Roscoe, Young Buddy), Don Correia (Buddy Plummer), Sara Edwards (Buddy's Blues "Margie", Buddy's Blues "Sally", Dee Dee West), Colleen Fitzpatrick (Phyllis Rogers Stone, Solange LaFitte), Leslie Donna Flesner (Young Heidi), Jenifer Foote (Dee Dee West, Sandra Crane, Solange LaFitte), Danielle Jordan (Emily Whitman, Young Sally), Joseph Kolinski (Benjamin Stone, Buddy Plummer, Dimitri Weismann, Max Deems, Theodore Whitman), Florence Lacey (Carlotta Campion, Sally Durant Plummer), Kiira Schmidt (Young Phyllis), Brian Shepard (Young Ben), Jessica Sheridan (Carlotta Campion, Dee Dee West, Hattie Walker, Heidi Schiller, Sandra Crane, Stella Deems) and Amos Wolff (Kevin)

Awards and Nominations

Tony Award®

 2012 Best Revival of a Musical [nominee] 

Produced by The John F. Kennedy Center for the Performing Arts (David M. Rubenstein, Chairman; Michael M. Kaiser, President; Max A. Woodward, Vice President), Nederlander Presentations, Inc., Adrienne Arsht and HRH Foundation; Executive Producer: Allan Williams

 2012 Best Performance by an Actor in a Leading Role in a Musical [nominee] 

Danny Burstein

 2012 Best Performance by an Actor in a Leading Role in a Musical [nominee] 

Ron Raines

 2012 Best Performance by an Actress in a Leading Role in a Musical [nominee] 

Jan Maxwell

 2012 Best Performance by an Actress in a Featured Role in a Musical [nominee] 

Jayne Houdyshell

winner 2012 Best Costume Design of a Musical [winner] 

Gregg Barnes

 2012 Best Lighting Design of a Musical [nominee] 

Natasha Katz

 2012 Best Sound Design of a Musical [nominee] 

Sound Design by Kai Harada

Drama Desk Award

winner 2012 Outstanding Revival of a Musical [winner] 

Produced by The John F. Kennedy Center for the Performing Arts (David M. Rubenstein, Chairman; Michael M. Kaiser, President; Max A. Woodward, Vice President), Nederlander Presentations, Inc., Adrienne Arsht and HRH Foundation

winner 2012 Outstanding Actor in a Musical [winner] 

Danny Burstein

 2012 Outstanding Actress in a Musical [nominee] 

Jan Maxwell

 2012 Outstanding Actress in a Musical [nominee] 

Bernadette Peters

 2012 Outstanding Featured Actress in a Musical [nominee] 

Elaine Paige

 2012 Outstanding Choreography [nominee] 

Warren Carlyle

 2012 Outstanding Sound Design in a Musical [nominee] 

Sound Design by Kai Harada

winner 2012 Outstanding Costume Design [winner] 

Gregg Barnes

 2012 Outstanding Set Design [nominee] 

Derek McLane

 2012 Outstanding Director of a Musical [nominee] 

Eric Schaeffer

Songs

music by Stephen Sondheim; lyrics by Stephen Sondheim

ACT 1 Sung By
Beautiful GirlsRoscoe and Company
Don't Look at MeBenjamin Stone and Sally Durant Plummer
Waiting for the Girls UpstairsBuddy Plummer, Benjamin Stone, Phyllis Rogers Stone, Sally Durant Plummer, Young Buddy, Young Ben, Young Phyllis and Young Sally
Rain on the RoofEmily Whitman and Theodore Whitman
Ah, Paris!Solange LaFitte
Broadway BabyHattie Walker
The Road You Didn't TakeBenjamin Stone
In Buddy's EyesSally Durant Plummer
Who's That Woman?Stella Deems and Ladies
I'm Still HereCarlotta Campion
Too Many MorningsBenjamin Stone and Sally Durant Plummer
ACT 2 Sung By
The Right GirlBuddy Plummer
One More KissHeidi Schiller and Young Heidi
Could I Leave You?Phyllis Rogers Stone
LovelandEnsemble
You're Gonna Love TomorrowYoung Phyllis and Young Ben
Love Will See Us ThroughYoung Sally and Young Buddy
The God-Why-Don't-You-Love-Me BluesBuddy Plummer, Buddy's Blues "Margie" and Buddy's Blues "Sally"
Losing My MindSally Durant Plummer
The Story of Lucy and JessiePhyllis Rogers Stone and Men
Live, Laugh, LoveBenjamin Stone and Company

Reviews


AP: "Follies"

A revival of Stephen Sondheim's "Follies" has arrived on Broadway just in time for Halloween. It's perfect for the season — it's got ghosts, skeletons bursting out of closets and a haunted house. It's also a treat.

A veteran cast that includes Bernadette Peters and Jan Maxwell backed by a 28-piece orchestra lends this masterpiece about middle-aged angst a lusciousness.

One after the other, performers step up to produce thrilling versions of song including "Broadway Baby" (Jayne Houdyshell), "I'm Still Here" (Elaine Paige), "Could I Leave You?" (Maxwell) and "Losing My Mind" (Peters). It's head-spinning stuff, one delicious bite of candy followed by another at the Marquis Theatre, where the show opened Monday night.

James Goldman's story focuses on a reunion of former showgirls, performers who were featured in various editions of a musical revue not unlike the Ziegfeld Follies, which flourished on Broadway between the two world wars.

The party takes place in a dilapidated theater awaiting the wrecking ball and set designer Derek McLane has chosen to spread out his vision to the audience — the balconies and walls of the Marquis are draped in huge molding cloth and piles of dusty ropes. Columns are crumbling, paint is peeling and there's even the sound of dripping.

Add to this the real stench of regret. The musical uses the stories of two unhappily married couples — the upper-crust Phyllis (Maxwell) and Ben (Ron Raines); the middle-class Sally (Peters) and Buddy (Danny Burstein) — as they return to the theater where their unhappy romances began.

Each married the wrong person, or think they did. What's worse, all four have never gotten over their youthful dreams, particularly when it comes to love and romance. The title's double meaning soon becomes clear.

"Ben and I don't do things anymore — we say things," Phyllis complains at one point. "When we're young, there is no limit to the roles we hope to play. Star, mother, hostess. I wanted to do it all but I learned to choose. And suddenly our selections are chiseled in marble."

Also present are each reunion member's younger selves, ghosts from another era when everything seemed possible. The show depicts past and present colliding, hopes and dreams confronting realities. It is not a good advertisement for aging gracefully.

Director Eric Schaeffer, who began this production at the Kennedy Center in Washington, D.C., but has had to introduce a few new actors when earlier ones dropped out on the way to Broadway, smartly uses all the stage, keeping both ghosts and humans in a sort of graceful dance. To make it even more complex, the ghosts sometimes jump into the dialogue, but this cast doesn't seem rattled.

Schaeffer has enriched the visual appeal by adding leggy Follies girls silently gliding in the background and on two platforms, sort of the ghosts of show-biz past. One odd note is struck when these Vegas-looking creatures with huge headdresses sometimes stop, stand and face the back wall, as if they were mimicking those little robot vacuums that get confused and bury themselves in an alcove for hours.

The gloom is lifted every so often by a faded former actress stepping forward with a song and dance. Mary Beth Peil belts out an ooh-la-la "Ah, Paris!" while Paige's "I'm Still Here" is a sassy cabaret triumph. All the ladies combine with their younger selves for a lovely "Who's That Woman?" — a celebration of female survival. Choreographer Warren Carlyle has even added a few missteps and jokes in his dances as the women try to remember their steps.

Sondheim has written a two-tiered score that contrasts the disillusionment of the lead roles with traditional musical comedy numbers that recall famous theater composers of the past — from Rudolf Friml to George Gershwin to Cole Porter to Harold Arlen.

The darkness of the set and the sadness of the themes suddenly explode during the "Loveland" sequence, in which the main characters' neuroses and disillusionments are performed vaudeville-style under garish lights and fluffy roses. It's a dreamlike burst of color and yet remains vaguely sinister.

Peters, who knows her way around a Sondheim score, is wonderful as the pining, overweight housewife Sally — she manages to hide her knock-out figure in Act I — and delivers a crushingly pretty "Losing My Mind." But Maxwell in a slinky gown by costume designer Gregg Barnes is marvelous, alternating from feigned disinterest to passive aggressive to ferocious in her great numbers "Could I Leave You?" and "The Story of Lucy and Jessie."

The guys are great, too. Burstein seems at first a guiless puppy as Buddy, but his internal frustrations emerge in his physical take on "The Right Girl." Raines as Ben is all world-weary grace and elegance, until he collapses at the end to reveal the weak man beneath.

The younger versions of the four main characters — Christian Delcroix, Lora Lee Gayer, Kirsten Scott and Nick Verina — are none too shabby themselves, especially in the Loveland sequence where they overlap melodies, fight with their older selves and dance up a storm.

"Come on, let's go home," Phyllis says at the end of the show to Ben. But it's been such a good and tuneful production that you may hope no one listens to her and the ghosts stick around just a little longer.


AP
9/13/2011

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