A Review

Dazzling Jewels, By The Score

By R. J. Donovan

"Follies" is one of Stephen Sondheim's more intriguing shows. Directed by Hal Prince and Michael Bennett, its initial Broadway run back in 1971 was far from the blockbuster event its creators hoped for. Although the show was innovative, highly creative and ran for more than 500 performances, it seemed to baffle audience and critics alike. People who liked it, loved it. And people who didn't like it, reaaaaally didn't like it. Theater historians have often pondered if it was genius too early for its time.

Unlike moon-june-spoon musicals, "Follies'" content is often very dark. And if the public back in 1971 walked into the theater expecting a light and frothy recreation of a traditional Follies production, it was destined to be disappointed. In fact, the title of the show has a double meaning.

However, time has given the show it's due (through several revivals both in New York and London), and the rich score includes a couple of Sondheim's best loved numbers. (In a note of trivia, "Follies" had its world premiere in a pre-Broadway tryout here in Boston at The Colonial Theater, where a good deal of the show was fine-tuned.)

With a book by James Goldman, "Follies" is set in an old Broadway theater that's about to be kissed with the wrecking ball.

To bid a fond farewell to the venerable old theater, a group of former Follies performers who once called the theater home have gathered for a reunion. But rather than a rollicking re-living of the good old days, what transpires is an examination that echoes of love lost, lives lived in loneliness and an often bitter examination of the road not taken.

At the center of the very large cast of characters are two couples -- Sally and Buddy, and Phyllis and Ben. Both ladies were Follies girls, and both were wooed backstage by their beaus. Although Sally wound up with Buddy, she was always in love with Ben, who fooled around with her behind Phyllis' back.

While Phyllis and Ben have built a successful, high profile life, Sally retired from show business and settled in Phoenix with Buddy, a traveling salesman. Despite the passage of time, she has never dropped the torch for Ben, all of which creates a mountain of conflict at the reunion.

On the lighter side of the plot, the first half of the show includes several of the ex-showgirls recreating their signature numbers. And in a clever move that adds tremendously to the story, all the major performers are shadowed by the ghosts of their younger selves. The second act takes a fantasy turn in examining the individual "folly" of each of the main characters.

The excellent production currently at Lyric Stage features some of Boston's best talents. As the cast is large, several of the roles are necessarily small. However, each has a moment to shine, and all do so to great success.

Kathy St. George is Solange, the fading, feather-topped French spitfire. Jacqui Parker is the former Broadway Baby. As Heidi, Dawn Tucker delivers a lovely "One More Kiss" with her younger counterpart, played by April Pressel. And Bobbie Steinbach is the tough-as-nails Carlotta, who's been around the block and knows it. She gets to sing the Sondheim anthem, "I'm Still Here."

Kerry Dowling, usually seen stealing the stage over at SpeakEasy, is a crowd-pleaser, leading the way in "Who's That Woman," a joyful tap number featuring all of the ladies as well as their younger visions. The imaginative number has her questioning "Who's that woman in the mirror" while the two sets of characters dance in perfect reflection of one another. (Kudos to choreographer Ilyse Robbins.)

Special mention goes to ALL the younger performers. They sing great, dance great and hold their own against their more experienced counterparts. The tango performed by Michael Wood and Caitlin Crosbie Doonan is a good example.

Of the four main characters, here's how the roles break down: Leigh Barrett is the present Sally, Michele DeLuca is the past Sally; Peter A. Carey is the present Buddy, Phil Crumrine is the past Buddy; Maryann Zschau is the present Phyllis, Amy Doherty is the past Phyllis; and Larry Daggett is the present Ben, with Josh Dennis as the past Ben.

Although wealthy and successful, Phyllis and Ben are not a "happily-ever-after" couple. They scrap their way through the party with Zschau delivering several zingers to the heart along with the scathing kiss-off, "Could I Leave You?"

Sally, meanwhile, proves to have more emotional problems than appear at first glance. Barrett does a lovely job underscoring the character's fragile mental state, especially in "Losing My Mind." While this particular number has long been a cabaret standard for Sondheim devotees, within the context of the show it's a heart-wrenching experience. And Leigh delivers it with aching emotion.

Carey gets his moment with "The Right Girl" and Daggett brings power to the self-loving/loathing "The Road You Didn't Take." He also joins Barrett for a touching "Too Many Mornings."

When a story calls for each character to be played by two actors simultaneously, you've got a pretty large cast on stage. However, the sizeable number of actors is essential as it's the juxtaposition of the images from the past that provide the present-day story with its depth and shading.

Lyric opened last season with "1776," boasting yet another large cast. Then, as now, director Spiro Veloudos adds the right tone and pace as he creatively assembles the story.

Although it's set against a backdrop of show business, the heart of the story is universal. And "Follies" tells it with great imagination and emotion.

"Follies" is at Lyric Stage Company of Boston, 140 Clarendon Street, through October 11. For information, call 617-585-5678.

Production photo: Mark Howard

-- OnStage Boston