With music and lyrics by Stephen Sondheim and book by James Goldman, Follies premiered on Broadway in 1971. The musical tells the story of a group of former showgirls, the Weismann Girls, who are invited to a reunion at the Broadway theatre where their musical revue, the Weismann’s Follies, used to be performed. Thirty years have passed since they last performed together and the Weismann Theatre is now derelict – about to be demolished to make way for a car park. As the guests arrive to the reunion the audience learns a little about their previous showgirl lives, with several performing their old Weismann Follies routine. Interwoven through these precious memories of yesteryear, and the challenges of being an aging performer, we meet two of the Weismann Girls experiencing marital problems. And things get complicated. Lives have changed in those past decades and Follies is more than just a walk down memory lane, but a story about the complexity of relationships.
Follies has had many stagings in Australia, but only ever in a concert presentation. The focus of those presentations has been to deliver Sondheim’s masterful songs, but the reality of concert staging is that so much of the story-telling is left out. While Sondheim’s songs are good, they are so much better when presented in the way Follies was meant to be staged. And for no other reason than that, it is worth the ticket price alone to finally see a fully staged production of Follies in Australia. However, Victoria Opera have nailed the brief.
Victoria Opera’s fully-staged production of Follies is lavish and extravagant. Director Stuart Maunder has delivered Follies with a clear vision that shows the opulence of the theatre revue shows that were the precursor to the Golden Age of musical theatre, set against the bleak reality of the early 70s when theatres were at risk of being demolished in the name of progress. Follies opened at a time when our own theatres were at risk of being destroyed in the name of progress. It’s easy for a younger audience to not realise just how fortunate we are in Melbourne to have so many of our old theatres not only intact, but fully renovated, functioning and with a full house.
The success of Victoria Opera’s lavish production of Follies is really the sum of all its many parts. It excels on every level. The rich and intricate Sondheim score is superbly performed by Orchestra Victoria under the musical direction of Phoebe Briggs, and although seated in the orchestra pit, the 34 musicians are on full view throughout the show as a very integral part of the production as the band performing for the reunion party.
Roger Kirk’s stunning set and costume design would be grand and luxurious even for a long running touring production. The fact this is a mere six performance season is quite mind blowing.
Sound design by Samuel Moxham is clear and well balanced. Lighting design by Gavan Swift creates the mood and atmosphere of a derelict old theatre, then immediately changes the tone when a memory is shared of the good old Broadway revue days. And credit to the dome operators (Isabel Caneleo and Sophie Daniels) for their precise follow spot work.
Choreographer Yvette Lee delivers some wonderful dance routines, showcasing the talents of the ensemble and also suitable for the principal cast of varying ages.
The entire cast are exceptional – from the principal cast through to the ensemble. All are incredibly talented.
The four leading performers, Antoinette Halloran, Alexander Lewis, Marina Prior and Adam Murphy all have gloriously rich vocals, but also find every moment of humour, tenderness and pain.
Antoinette Halloran’s rendition of ‘Losing My Mind’ is heartfelt and sung with such passion it effortlessly fills every corner of the cavernous Palais Theatre. Alexander Lewis brings vaudevillian charisma to his portrayal of Buddy. Marina Prior delivers an outstanding performance, finding the right balance of Phyllis’ complex emotions that endear her to the audience. Adam Murphy is seductively charming as Ben.
The four leads are shadowed by younger memories of their characters, played by Mia Simonette, Jacob Steen, Taao Buchanan and Jack Van Staveren who are all excellent in these roles. Their complicated lives could be enough content for a show these days, but rather than simply tell their story, much of it is presented as their follies in a typical Broadway revue folly style.
But Follies is so much more than simply those leading characters and their messy marriages. Follies is a reunion of the Weismann Girls – and each has their own unique story to tell. Anne Wood is wonderful as Carlotta Campion.
Colette Mann is endearing as Emily Whitman. Evelyn Krape is wonderful as Solange La Fitte. Merlyn Quaife is stunning as opera singer, Heidi Schiller, supported by the younger version of Heidi performed by Nina Korbe. And Geraldine Morrow (aged 83) is fabulous as Hattie Walker and her performance of ‘Broadway Baby’.
Rhonda Burchmore is sensational as Stella Deems and after months of wearing a long nun’s habit in Sister Act, Burchmore’s age-defying legs are back on show and into tap shoes once more.
The performances from the entire cast are outstanding and Follies is one highlight after another.
Given that it’s taken nearly 54 years for a full production of Follies to be staged in Melbourne, this is a rare treat for any musical theatre lover, let alone Sondheim fans. Victoria Opera’s production is how Follies was meant to be presented – lavish and glamourous.
There are just four performances of Follies remaining – from Monday 3rd to Thursday 6th February. Don’t miss this rare opportunity to experience Follies at its very best.
For tickets click here
Photo credit: Jeff Busby