Follies
|
3rd - 8th June 2013
Director: Sue Sampson
Musical Director: Richard Stockton Choreographer: Dawn Stephens CastBen Stone - Mike Bartlett
Phyllis Stone - Mandy Grealis Sally Durant Plumber - Sue Prior Buddy Plumber - Ben George Young Ben - James Palmer Young Phyllis - Francesca Cave Young Sally - Vicky Huggins Young Buddy - Mark Turvill Stella - Rachel Davison Hattie - Janet Turner Carlotta - Lynne Menzies Solange - Pamela Lee Emily Whitman - Sue Warren Theodore Whitman - Bob Noble Weissman - Arthur Venables Roscoe - Richard Lee |
Chorus
Sarah Gallagher, Eileen Green, Natasha Halliwell, Jenny Jones, Danny Kendrick, Hannah Kitchener, Helen Mills, Melanie Murza, Steve Nottage, Nat Rowell, June Saich, Emma Tait, Seb Underhay, Patricia Venables & Lisa Waters
Noda Review
‘Follies’ opened at The Winter Garden Theatre in New York in April 1971 and later at the Shaftesbury Theatre London in July 1987. Sondheim’s music is far from easy to play, sing, or for several people to appreciate, but for me ‘Follies’ is the one with the most melodic and recognisable tunes.
The absence of a synopsis in the programme was unfortunate considering that past and present run alongside each other, and that only really becomes clear as the piece progresses. I suspect that apart from the Sondheim aficionados, a number of people were struggling to understand quite what was happening at the beginning.
A minimum of scenery was used or needed for the show and the set of stairs made entrances more impressive enabling attractive settings on stage. The ‘crowd’ scenes were interesting and the company were immersed in the occasion making for a realistically busy party gathering.
The girls moved beautifully in the opening scene, in perfect synchronicity and the smoke helped to create the eerie atmosphere of an unused, empty theatre due for demolition.
The introductory underscored dialogue would have helped to establish the story but the ladies couldn’t be heard above the orchestra. Apart from that and one other underscored section, ‘Loveland’, the musicians were excellent. Underscoring almost always presents a problem for the audience, and although I’m sure that adjustments are made it’s hardly ever quite enough for the dialogue to be clearly heard. Some of the performers are able to project but several are not.
Company singing was commendable.
Sue Prior was commendable as the uncomplicated Sally and her vulnerability was apparent. She was clearly nervous and lacked confidence in Ben’s presence, having held a candle for him for years, and her song ‘Losing my Mind’ was just super. ‘In Buddy’s Eyes’ was beautifully performed.
Her husband Buddy, was the epitome of a travelling salesman with both a girlfriend and a wife in tow, and Ben George played the role convincingly. His acting was good as was his accent, and on reading his biography later I understood the reason for his better than average American accent! His solo was poignant and he moved well too – a good all round performance from Ben..
Mandy Grealis portrayed the world weary, brittle Phylliss strongly, and her rendition of ‘Could I Leave You’ was full of emotion. The relationship between she and her husband Ben was so obviously on a path to self destruction it was hard to watch/listen to and must have sadly rung a bell for some members of the audience.
In the role of her husband Benjamin, Mike Bartlett gave as good as he got and on stage the pair appeared well matched. He sang and acted the part confidently.
As Solange, Pam had a good French accent and she sang ‘Ah Paris!’ beautifully. Perhaps a little more choreography would have added something visually to her number.
Lynne Menzies was fabulous in the part of Carlotta. She has the ability to make every movement naturally graceful and her presentation of ‘I’m Still Here’ was a highlight.
‘Who’s That Woman’ was a very good tap number and Dawn Steven’s choreography in the big chorus numbers was good - well rehearsed and performed. However in some of the individual songs, especially Janet Turner’s ‘Broadway Baby’ very little happened. Janet sang the number well but it cried out for some sexy movements! The tap dancing in ‘Phyllis’s Folly’ was first class.
Arthur Venables had good stage presence and projection as Dimitri Weissman, and playing Roscoe, Richard gave a good performance and sang ‘Beautiful Girls’ very well.
The Whitman husband and wife team were delightfully played by Bob Noble and Sue Warren, and their little dance routine was good.
Francesca Cave and James Palmer sang their number faultlessly as the Young Phylliss and Ben, and Vicky Huggins and Mark Turvill also gave good performances as the Young Sally and Buddy. The four of them worked together splendidly and that section of the musical gave the ‘young versions’ an opportunity to show what they could do--- and they did! The theatre in this scene was especially well constructed.
The amusing ‘The God-Why-Don’t-You-Love-Me-Blues’ was a nice contrast to some of the other numbers.
Almost everyone had a named part and they all supported the main principals strongly, adding to the overall success of the production. Particularly worthy of note was the beautifully performed ballet by Jenny Jones as Young Heidi Schiller and Patricia Venables’ stage experience was apparent in her presentation of the role of Heidi.
The costumes were on the whole impressive and I appreciate that Sally’s turquoise dress was intended to be a contrast to the other ladies more sophisticated ones, but the length and style looked out of place.
Wigs were of different styles, perhaps deliberately for the years represented (?), and make up was fine.
Lighting was very good indeed and the sound was mostly good.
The situations in this musical are so true to real life and thought provoking. The ‘grass is always greener’ syndrome is such a familiar one, and we are left wondering how the four lives will pan out. Possibly all they achieved from their re-union was greater honesty and self-knowledge, which is a salutary lesson in relationships.
I very much enjoyed your production of ‘Follies’ and considering the substantial challenges for an amateur company in staging and interpretation, I felt it was very well tackled and directed by Sue Sampson.
Apart from the omission of a synopsis your programme is nicely presented and the front cover is attractive.
Thank you for inviting me to see ‘Follies’ and also for your hospitality on the evening.
E. Gloria Smith.
NODA South East Regional Representative – District 12.
The absence of a synopsis in the programme was unfortunate considering that past and present run alongside each other, and that only really becomes clear as the piece progresses. I suspect that apart from the Sondheim aficionados, a number of people were struggling to understand quite what was happening at the beginning.
A minimum of scenery was used or needed for the show and the set of stairs made entrances more impressive enabling attractive settings on stage. The ‘crowd’ scenes were interesting and the company were immersed in the occasion making for a realistically busy party gathering.
The girls moved beautifully in the opening scene, in perfect synchronicity and the smoke helped to create the eerie atmosphere of an unused, empty theatre due for demolition.
The introductory underscored dialogue would have helped to establish the story but the ladies couldn’t be heard above the orchestra. Apart from that and one other underscored section, ‘Loveland’, the musicians were excellent. Underscoring almost always presents a problem for the audience, and although I’m sure that adjustments are made it’s hardly ever quite enough for the dialogue to be clearly heard. Some of the performers are able to project but several are not.
Company singing was commendable.
Sue Prior was commendable as the uncomplicated Sally and her vulnerability was apparent. She was clearly nervous and lacked confidence in Ben’s presence, having held a candle for him for years, and her song ‘Losing my Mind’ was just super. ‘In Buddy’s Eyes’ was beautifully performed.
Her husband Buddy, was the epitome of a travelling salesman with both a girlfriend and a wife in tow, and Ben George played the role convincingly. His acting was good as was his accent, and on reading his biography later I understood the reason for his better than average American accent! His solo was poignant and he moved well too – a good all round performance from Ben..
Mandy Grealis portrayed the world weary, brittle Phylliss strongly, and her rendition of ‘Could I Leave You’ was full of emotion. The relationship between she and her husband Ben was so obviously on a path to self destruction it was hard to watch/listen to and must have sadly rung a bell for some members of the audience.
In the role of her husband Benjamin, Mike Bartlett gave as good as he got and on stage the pair appeared well matched. He sang and acted the part confidently.
As Solange, Pam had a good French accent and she sang ‘Ah Paris!’ beautifully. Perhaps a little more choreography would have added something visually to her number.
Lynne Menzies was fabulous in the part of Carlotta. She has the ability to make every movement naturally graceful and her presentation of ‘I’m Still Here’ was a highlight.
‘Who’s That Woman’ was a very good tap number and Dawn Steven’s choreography in the big chorus numbers was good - well rehearsed and performed. However in some of the individual songs, especially Janet Turner’s ‘Broadway Baby’ very little happened. Janet sang the number well but it cried out for some sexy movements! The tap dancing in ‘Phyllis’s Folly’ was first class.
Arthur Venables had good stage presence and projection as Dimitri Weissman, and playing Roscoe, Richard gave a good performance and sang ‘Beautiful Girls’ very well.
The Whitman husband and wife team were delightfully played by Bob Noble and Sue Warren, and their little dance routine was good.
Francesca Cave and James Palmer sang their number faultlessly as the Young Phylliss and Ben, and Vicky Huggins and Mark Turvill also gave good performances as the Young Sally and Buddy. The four of them worked together splendidly and that section of the musical gave the ‘young versions’ an opportunity to show what they could do--- and they did! The theatre in this scene was especially well constructed.
The amusing ‘The God-Why-Don’t-You-Love-Me-Blues’ was a nice contrast to some of the other numbers.
Almost everyone had a named part and they all supported the main principals strongly, adding to the overall success of the production. Particularly worthy of note was the beautifully performed ballet by Jenny Jones as Young Heidi Schiller and Patricia Venables’ stage experience was apparent in her presentation of the role of Heidi.
The costumes were on the whole impressive and I appreciate that Sally’s turquoise dress was intended to be a contrast to the other ladies more sophisticated ones, but the length and style looked out of place.
Wigs were of different styles, perhaps deliberately for the years represented (?), and make up was fine.
Lighting was very good indeed and the sound was mostly good.
The situations in this musical are so true to real life and thought provoking. The ‘grass is always greener’ syndrome is such a familiar one, and we are left wondering how the four lives will pan out. Possibly all they achieved from their re-union was greater honesty and self-knowledge, which is a salutary lesson in relationships.
I very much enjoyed your production of ‘Follies’ and considering the substantial challenges for an amateur company in staging and interpretation, I felt it was very well tackled and directed by Sue Sampson.
Apart from the omission of a synopsis your programme is nicely presented and the front cover is attractive.
Thank you for inviting me to see ‘Follies’ and also for your hospitality on the evening.
E. Gloria Smith.
NODA South East Regional Representative – District 12.