"Follies" at Artistry

Artistry's production of Stephen Sondheim's 1971 musical Follies, the final show of their 2017-2018 season, opened two weeks ago, but the Great April Blizzard of '18 caused them to cancel several shows on their opening weekend. I finally had the opportunity to see it this weekend, and it was worth the wait! Having seen the 2011 Broadway revival, I knew what a gorgeous, but complicated, musical Follies is (does Sondheim write any other kind?). During my two-week delay in seeing the show I've been listening to the 2011 recording, so I was primed and ready for this show, and I loved every minute of it. Music Director Anita Ruth's 21-piece pit orchestra, Director Benjamin McGovern's large and talented cast (which includes three Equity actors, perhaps the most I've seen in a single show at Artistry), plus the dazzling design do justice to Sondheim and book writer James Goldman's complicated and beautiful musical. Congratulations to Artistry for tackling tricky Sondheim and pulling it off beautifully!

2012 Tony Nominations

The 2012 Tony Award Nominations were announced on May 1. I have a few opinions about who I'd like to see take home the trophies since I've seen five of the eligible shows on my trips to NYC last fall and this spring (plus one right here in Minneapolis!):

• Follies
• End of the Rainbow (at the Guthrie immediately before the current Broadway run)
• Once
• A Streetcar Named Desire
• The Gershwin's Porgy and Bess

Here are the nominations along with a few thoughts about the nominees (update: winners are bolded).


Total Wins:
Once - 8
Peter and the Starcatcher - 5
Newsies - 2
Nice Work If You Can Get It - 2
Arthur Miller’s Death of a Salesman - 2
The Gershwins' Porgy and Bess - 2
Follies - 1
One Man, Two Guvnors - 1
Other Desert Cities - 1
Clybourne Park - 1
Venus in Fur - 1

Best Play 
Clybourne Park (Bruce Norris)

Other Desert Cities (Jon Robin Baitz)
Peter and the Starcatcher (Rick Elice)
Venus in Fur (David Ives)

I almost saw Venis in Fur this spring, but unfortunately I didn't quite get there. So I can't really comment on this category, other than I look forward to seeing the first two shows at the Guthrie next season (I just renewed my subscription).

Best Musical
Leap of Faith
Newsies
Nice Work If You Can Get It
Once

First, let me express my sadness that three of these "new musicals" are movie adaptations, and the fourth is a new story with no original music (Nice Work If You Can Get It features the music of George and Ira Gershwin). Such is the state of Broadway today - very few new original musicals (fortunately they still exist Off-Broadway). That being said, I saw Once and loved it, and would be happy to see it win. Yes it's the dreaded movie adaptation, but it's a quiet, simple movie about music that lends itself well to the stage. They were able to stay true to the spirit of this lovely story and music, while making it an entirely (well, mostly) new creation.

Best Revival of a Play
Arthur Miller’s Death of a Salesman
Gore Vidal’s The Best Man
Master Class
Wit

I was interested in seeing Death of a Salesman because of its star (more about him later), but musicals always call to me more than plays when I have a limited time in NYC. So I can't really comment on this (other than I'm pleased to see that the unintentionally comedic production of A Streetcar Named Desire did not receive a nomination).

Best Revival of a Musical
Evita
Follies
The Gershwins’ Porgy and Bess
Jesus Christ Superstar

I was lucky enough to see both Follies and The Gershwin's Porgy and Bess, and both are spectacular revivals. Follies, by the great Stephen Sondheim, was first on Broadway in 1971, and this revival is a gorgeous production (after a limited run on Broadway, it's currently playing in L.A.), featuring beautiful music, an amazing cast of Broadway vets, and fantastic costumes.  Porgy and Bess is a new version of the classic 1935 opera, a gripping story about the African-American residents of fictional "Catfish Row" in South Carolina. If I had to choose between these two, I'd choose Porgy and Bess, but possibly only because it's fresher in my mind.

Best Book of a Musical

Lysistrata Jones (Douglas Carter Beane)

Newsies (Harvey Fierstein)

Nice Work If You Can Get It (Joe DiPietro)

Once (Enda Walsh)

Once again I'd vote for Once, the only one I saw. But really, Irish playwright Enda Walsh did a wonderful job of filling in the sparse movie and making it into a full-length musical. While I might have preferred the simplicity and subtlety of the film, I recognize that that kind of silence doesn't translate well to the stage, and I'm not sure it could have been done better.

Best Original Score (Music and/or Lyrics) Written for the Theatre

Bonnie & Clyde (Music: Frank Wildhorn, Lyrics: Don Black)

Newsies (Music: Alan Menken, Lyrics: Jack Feldman)

One Man, Two Guvnors (Music & Lyrics: Grant Olding)

Peter and the Starcatcher (Music: Wayne Barker, Lyrics: Rick Elice)

I haven't heard any of these scores so I can't comment, other than it's interesting to note that the latter two are classified as plays with music, rather than musicals. And I'm surprised that Newsies qualifies as "original" score since it features music from the movie, but I guess they included enough original songs to qualify.

Best Performance by an Actor in a Leading Role in a Play
James Corden, One Man, Two Guvnors
Philip Seymour Hoffman, Arthur Miller’s Death of a Salesman
James Earl Jones, Gore Vidal’s The Best Man
Frank Langella, Man and Boy
John Lithgow, The Columnist

Again, I haven't seen any of these performances so I can't comment, other than to say that Philip Seymour Hoffman is one of my favorite movie actors who also happens to be an accomplished theater actor (this is his third Tony nominations), so I wouldn't mind seeing him win.

Best Performance by an Actress in a Leading Role in a Play
Nina Arianda, Venus in Fur
Tracie Bennett, End of the Rainbow
Stockard Channing, Other Desert Cities
Linda Lavin, The Lyons
Cynthia Nixon, Wit

I think Tracie Bennett is the surest bet to win a Tony this year. Granted I haven't seen any of the other performances, but her portrayal of the great Judy Garland in End of the Rainbow is genius. And I don't know how the Tony voters could resist giving the award to the woman who brought this icon to life. I heard Tracie speak in a post-show discussion at the Guthrie, and she's been very involved in the creation of this piece and this character for ten years, so it would be nice to see that sort of passion and dedication rewarded.

Best Performance by an Actor in a Leading Role in a Musical
Danny Burstein, Follies
Jeremy Jordan, Newsies
Steve Kazee, Once
Norm Lewis, The Gershwins’ Porgy and Bess
Ron Raines, Follies

Oh, this is a tough one! I've seen four of these performances, and heard nothing but rave reviews for the one I haven't seen. Ron and Danny were both wonderful in Follies, but of the two Danny is my favorite (I also saw him a few years ago singing "Nothing Like a Dame" in South Pacific at Lincoln Center). Steve is also wonderful, bringing a quietness and depth to his role of that guy in Once (even if, or maybe because, he's so different from my darling Glen). But if forced to choose, I'd give the Tony to Norm Lewis, who so completely embodied (physically and emotionally) the "crippled," big-hearted Porgy.

with Norm Lewis (Porgy in Porgy and Bess)

Best Performance by an Actress in a Leading Role in a Musical

Jan Maxwell, Follies
Audra McDonald, The Gershwins’ Porgy and Bess
Cristin Milioti, Once
Kelli O’Hara, Nice Work If You Can Get It
Laura Osnes, Bonnie & Clyde

First of all - no Bernadette? But aside from that, I have to go with Audra, because she's Audra, and her Bess is so complex and layered, sympathetic while making mistakes. And that voice, come on! Let's just give her her fifth Tony.  (And a big congratulations to Minnesota's own Laura Osnes on her first Tony nomination and her successful Broadway career!)

with Audra McDonald (Bess in Porgy and Bess)

Best Performance by an Actor in a Featured Role in a Play
Christian Borle, Peter and the Starcatcher
Michael Cumpsty, End of the Rainbow
Tom Edden, One Man, Two Guvnors
Andrew Garfield, Arthur Miller’s Death of a Salesman
Jeremy Shamos, Clybourne Park

I've only seen one of these performances, but Michael Cumpsty is sweet and charming as Judy's pianist in End of the Rainbow, who tries to save her from herself, so I'll go with him.

Best Performance by an Actress in a Featured Role in a Play
Linda Emond, Arthur Miller’s Death of a Salesman
Spencer Kayden, Don’t Dress for Dinner
Celia Keenan-Bolger, Peter and the Starcatcher
Judith Light, Other Desert Cities
Condola Rashad, Stick Fly

No comment (but I think Judith is fabulous).

Best Performance by an Actor in a Featured Role in a Musical
Phillip Boykin, The Gershwins’ Porgy and Bess
Michael Cerveris, Evita
David Alan Grier, The Gershwins’ Porgy and Bess
Michael McGrath, Nice Work If You Can Get It
Josh Young, Jesus Christ Superstar

Can I write in Joshua Henry in Porgy and Bess? No? Then I'll vote for David Alan Grier, who is pretty spectacular too. Oh wait, Phillip Boykin is so imposing as the evil Crown that he received a few boos at the curtain call, which prompted him to smile and curtsy. He was super sweet and friendly at the stage door, so unlike his character. I change my vote to Phillip.

Best Performance by an Actress in a Featured Role in a Musical
Elizabeth A. Davis, Once
Jayne Houdyshell, Follies
Judy Kaye, Nice Work If You Can Get It
Jessie Mueller, On A Clear Day You Can See Forever
Da’Vine Joy Randolph, Ghost the Musical

The Follies cast included so many amazing veteran Broadway actresses in featured roles, each getting the chance to sing one fabulous song, that I'd give the award to Jayne Houdyshell's "Broadway Baby" as a representative of them all.

Best Scenic Design of a Play
John Lee Beatty, Other Desert Cities
Daniel Ostling, Clybourne Park
Mark Thompson, One Man, Two Guvnors
Donyale Werle, Peter and the Starcatcher

No comment.

Best Scenic Design of a Musical
Bob Crowley, Once
Rob Howell and Jon Driscoll, Ghost the Musical
Tobin Ost and Sven Ortel, Newsies
George Tsypin, Spider-Man Turn Off The Dark

Let's give it to Once's Irish pub. Other than the fact that they don't serve Guinness, it feels like an inviting place to have a pint, listen to some music, and watch this lovely story unfold.

Best Costume Design of a Play
William Ivey Long, Don’t Dress for Dinner
Paul Tazewell, A Streetcar Named Desire
Mark Thompson, One Man, Two Guvnors
Paloma Young, Peter and the Starcatcher

No comment.

Best Costume Design of a Musical
Gregg Barnes, Follies
ESosa, The Gershwins’ Porgy and Bess
Eiko Ishioka, Spider-Man Turn Off The Dark
Martin Pakledinaz, Nice Work If You Can Get It

For the amazing headdresses alone, Follies deserves the Tony. Not to mention the costumes of the Follies girls, the party-goers, and the slightly faded clothing of the past versions of the characters that haunt the place.

Best Lighting Design of a Play
Jeff Croiter, Peter and the Starcatcher
Peter Kaczorowski, The Road to Mecca
Brian MacDevitt, Arthur Miller’s Death of a Salesman
Kenneth Posner, Other Desert Cities

No comment.

Best Lighting Design of a Musical
Christopher Akerlind, The Gershwins’ Porgy and Bess
Natasha Katz, Follies
Natasha Katz, Once
Hugh Vanstone, Ghost the Musical

I usually don't really notice lighting, but in this case, I think the lighting in Follies plays a pivotal role in differentiating the past and present, both of which appear onstage at the same time. It's like you're watching a living memory, in addition to the very real present.

Best Sound Design of a Play
Paul Arditti, One Man, Two Guvnors
Scott Lehrer, Arthur Miller’s Death of a Salesman
Gareth Owen, End of the Rainbow
Darron L. West, Peter and the Starcatcher

No comment.

Best Sound Design of a Musical
Acme Sound Partners, The Gershwins’ Porgy and Bess
Clive Goodwin, Once
Kai Harada, Follies
Brian Ronan, Nice Work If You Can Get It

Again, not something I usually pay attention to (maybe this is one of those things one only notices when it's bad, not when it's good), but the sound design of Follies also helped differentiate the past from the present characters. Just a slightly muffled quality that hinted you were hearing echos of the past.

Best Choreography
Rob Ashford, Evita
Christopher Gattelli, Newsies
Steven Hoggett, Once
Kathleen Marshall, Nice Work If You Can Get It

I realize this isn't really fair because I only saw one of the nominees (again), but the choreography in Once is so different from a typical musical: graceful, organic movements, rather than show-stopping numbers, that incorporate even the scene changes.

Best Direction of a Play
Nicholas Hytner, One Man, Two Guvnors
Pam MacKinnon, Clybourne Park
Mike Nichols, Arthur Miller’s Death of a Salesman
Roger Rees and Alex Timbers, Peter and the Starcatcher

No comment.

Best Direction of a Musical
Jeff Calhoun, Newsies
Kathleen Marshall, Nice Work If You Can Get It
Diane Paulus, The Gershwins’ Porgy and Bess
John Tiffany, Once

I'm going to give my vote to Diane Paulus for Porgy and Bess; she brought this classic to life in a fresh way. It's unbelievable to think that this piece was written over 75 years ago, and is still so real and moving.

Best Orchestrations
William David Brohn and Christopher Jahnke, The Gershwins’ Porgy and Bess
Bill Elliott, Nice Work If You Can Get It
Martin Lowe, Once
Danny Troob, Newsies

I was lucky enough to sit three rows behind the pit orchestra at Porgy and Bess (thanks TKTS!), and the sound was so lush and gorgeous, full and rich. Everything musical theater music should be.

That's it! Please let me know your thoughts. I'll be back to update once the awards are presented on June 10. But I won't be watching live as I have theater tickets that night. What better way to celebrate theater than to go to a show?!

"Follies" at the Marquis Theatre on Broadway

Bernadette Peters and Stephen Sondheim on Broadway.  That's all it took to get me to see Follies last weekend, a show that I previously knew nothing about.  Sometimes it's best to go into a show with no expectations.  I was blown away.  It's an absolutely stunning production.  From the set and costumes, to the huge veteran cast, to the gorgeous Sondheim music, it's an amazing musical theater experience.

Follies is set in 1971 and was first produced on Broadway that year.  It takes place in a theater about to be demolished and reunites the women who worked there in the 30s and 40s as "Follies girls."  The main characters are two erstwhile best friends, Sally (Bernadette Peters) and Phyllis (Jan Maxwell), and their husbands Buddy (Danny Berstein) and Ben (Ron Raines).  They comprise an awkward and complicated love quadrangle.  Buddy loves Sally but Sally loves Ben.  Ben only loves Sally until he has her, and then he wants Phyllis back.  As they reminisce about their past and their stories unfold, we also see the young versions of these four characters.  Their costumes are slightly faded, they're lit with a softer light, and even the sound of their voices is slightly echoing, like we're seeing visions from the past.  Sometimes the past and present action occur simultaneously.  The worlds overlap and we see the parallels between then and now.  It's really beautifully and effectively done.

The show opens with the orchestra playing the Prologue while beautifully dressed women walk slowly and elegantly across the stage, a run-down theater.  They're ghosts of the past, dressed in blacks and greys, with the elaborate headdresses of showgirls.  They continue to walk around or stand in the background as the present-day action goes on in front of them, and one or two even remain on stage during intermission.  There's a sad, wistful feeling about the show, and the costumes, set, lighting, and sound design all contribute to that feeling.

As I'm beginning to learn is typical in a Stephen Sondheim show, everyone in the large ensemble gets their moment to shine.  And they all just knock it out of the park - Mary Beth Peil slinking across the stage singing "Ah, Paris," Jayne Houdyshell singing the classic "Broadway Baby," Elaine Paige belting "I'm Still Here," and Terri White tapping up a storm in "Who's That Woman."  These women are all stars in their own right, but are in this show for one shining moment.  And the beautiful thing is that they're all over 50.  After seeing RENT starring a bunch of 20-year-olds (which is appropriate for the show) just the night before, it was nice to see mature, beautiful, talented, amazing women kicking it up on a Broadway stage.  That's a rare sight, and thrilling.

Follies celebrated its opening night just this week.  I fully expect and hope to see all four leads nominated come Tony time next spring.  They are all spectacular, especially the women, and each have their "folly" moment at the end of the show.  Danny Burstein (whom we loved in his Tony-nominated role in South Pacific a few years ago) does a funny vaudeville number ("The God-Why-Don't-You-Love-Me Blues") that is hiding deeper pain.  Jan Maxwell has a killer dance number with a bunch of dancing boys behind her.  Bernadette walks out onto an empty stage in a gorgeous purple dress and pours her heart out in song, as only she can do.  Finally, Ron Raines (one of those theater/soap crossover actors), comes out in a top hat and tails and leads the ensemble in a great song and dance number, until he falls apart at the mess he's made of his life.  It's not a happy ending, but it's a conclusion.  I felt like I had been on a journey with these people and shared a moment in their lives.

We waited at the stage door, but because it was a matinee before an evening performance, we didn't see any of the four leads.  But we did see young Buddy and the tap-dancing Terri White, who informed us that the cast was going into the studio in October to record the soundtrack.  I'll be watching for that.

Follies is on Broadway for a "limited engagement" after a run at the Kennedy Center in DC earlier this year.  I'm not sure how long the engagement will last, but it would be a crime for any musical theater lover who has the opportunity to see it, not to.  One could say that it would be folly to miss this show.