Date & Location: Thursday, 16th November. Merlin Theatre (Frome)
Type: Musical
Writer: book by James Goldman, music and lyrics by Stephen Sondheim
Director: Dominic Cooke
Cast: Imelda Staunton, Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett, Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Phillip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen, Alex Young
Score: 5/5
Follies, which debuted in 1971 on Broadway, is one of Sondheim’s most renowned and most challenging works and is inspired by the showgirls of the New York-based Ziegfeld Follies. It follows the stories of lead characters Sally and Phyllis, who are both former showgirls in the Follies, and who are both deeply unhappy in their marriages. It is an intense and emotional study of relationships and the nostalgia of performance, as well as the tragedy of the passing of time. Tinged with regret and brightened by sharp bursts of a feisty hope, musically the show is challenging in its pastiche style mimicking several popular music trends of the 20s, 30s and 40s.
This was my first experience of seeing a National Theatre Live broadcast, and I was very intrigued to see how the stage production of one of Sondheim’s arguably most complex works would transfer to the silver screen. In all, I found this a unique and immensely entertaining experience, and if anything, I believe the arrangement of the National Theatre Live broadcast, the filming and the sound production benefitted the stage show and allowed us as an audience to perceive with greater depths the music and stellar acting on display live in London. I really enjoyed the interesting blend of live entertainment and the more produced elements of pre-recorded entertainment. The only slightly awkward moments came at the ends of musical numbers, as the audience was not entirely sure whether to applaud or not given the lack of interaction with the actors!
The set, lighting and costumes were a highlight for me. I really enjoyed the sense of decaying grandeur evoked by the incredibly versatile set, which at once created and constricted space on the stage. The often subtle and murky lighting gave the whole production an almost dreamlike quality as the two timelines interwove and danced around one another. The use of costume also helped clarify this important plot point, with each younger version of the characters possessing a unique costume appropriate to the style and fashion of the era in which they were performing. Grand headdresses, flowing silk and satin showgirl dresses gave another hint at faded glamour. The abrupt switch between faded colours and subtle classic lighting to vivid sets and downright modern lighting (the use of strobes was particularly interesting) provided the audience with the vivaciousness of the Follies the show had only previously hinted at.
The welcoming staging accommodated a very large ensemble cast ably, and the stage never felt crowded. I really enjoyed the large ensemble tap number with the mirrored past and present selves of the cast, and was very impressed that the present cast managed to out-dance the younger members! I felt that the younger cast did a very good job of establishing the characters of the older cast in a way that showed the development and difference of each person, but maintained a solid personality. The four main characters’ past selves seemed far more than the echoes of the other personas on stage and I loved the interplay and stolen glances between the eight members, with timelines colliding as older Sally looked at younger Benjamin and older Benjamin ogled younger Sally. The tension between the present and past characters provided much of the emotional heft throughout as they crossed paths and their timelines interwove.
The music of Sondheim is often difficult, complex and intricate; however it was ably managed by the entire cast. The pastiche style evoked other shows such as Cabaret, My Fair Lady and thematically I would draw many comparisons to Sondheim’s own Company as there were similar musical motifs and polyphonic, discordant melodies. The benefit of seeing the show on the large screen of a cinema setting was that each nuance and emotional beat of every line was captured in close-up, which really engaged me as an audience member as normally, seat depending, much of the acting would be missed in a traditional theatre. This meant that each solo for the secondary characters became an integral part of the story. Particular highlights included the beautiful One More Kiss and the powerful I’m Still Here. However, it was Staunton’s shattering performance of Losing My Mind that stood out amongst the glitz and madness of the ‘follies’ of the last third of the show. It was understated yet towering, with Staunton laid bare, with simple staging allowing her performance to shine out from the madness of the surrounding (also excellent) follies sequences right up until the final wavering note.
The show has not been performed in full, in its original one-act format on the West End since the 80s due to its technical and musical challenges, not to mention the huge cast required. But this production was absolutely stunning, with not a note wrong or a foot misplaced. I also think that the carefully choreographed live broadcast did a great deal to highlight the strong points of the show, while eliminating any weaker points as despite the length, every song and set-piece was engaging and important. I really enjoyed the way in which we as an audience could properly engage with the characters in close quarters and I would definitely book to see another National Theatre Live broadcast again. Finally, I wish to draw attention to the beautiful marketing and publicity for the show. The vivid poster pushes the show conceptually into a modern setting, showcasing the thematic timelessness of the Sondheim’s work.
Follies was a wonderful, nostalgic, and emotional show with great musical complexity, accomplished acting and intelligent production. Sondheim’s works always evoke a sense of the deeply human and the intricacy of the human condition and relationships, and this production was no exception.
For more information: NT Live: Follies
-Photos courtesy of National Theatre
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