“Follies” is one of Stephen Sondheim’s most celebrated musicals and its revival at the Kennedy Center explains why. Not only does it contain some of Sondheim’s finest music and lyrics, but in its subtly complicated book by James Goldman, it tackles a fascinating theme: how people remember the past and relate it to their present lives. “Follies” takes place in a decrepit theatre where the “Weismann Follies” used to be performed. It’s 1971 and impresario Dimitri Weismann (David Sabin) has gathered his former stars for a party on the eve of the theater’s demolition. Derek McLane’s set exposes a huge theater stripped to its brick walls.
The former showgirls get to sing some of Sondheim’s most famous songs. In the Kennedy Center’s group of illustrious stars, Elaine Paige sings “I’m Still Here,” Linda Lavin celebrates “Broadway Baby,” Terri White belts out “Who’s That Woman?” and Rosalind Elias sings “One More Kiss.”
| “Follies” |
| Music and lyrics by Stephen Sondheim; book by James Goldman |
| The Kennedy Center, 2700 F St., NW |
| 7:30 p.m. Tuesdays through Saturdays; 1:30 p.m. Wednesdays, Saturdays and Sundays |
| Tickets begin at $45 |
| 202-467-4600 |
| kennedy-center.org |
The central characters are two married couples who used to be best friends: the rich, successful Ben (Ron Raines), his wife, Phyllis (Jan Maxwell), a cheery salesman, Buddy (Danny Burstein) and his wife, Sally (Bernadette Peters).
It soon becomes clear that their lives are in turmoil. The men are unfaithful and the women know it. Phyllis is bored. Sally has always been in love with Ben. Peters is brilliant in her solos (especially “Losing My Mind”) and her duets with Raines. Peters offers just the right amount of intensity and fragility to make her Sally credible.
Raines is equally impressive as Ben, both in his acting and his singing, particularly “The Road You Didn’t Take.” His long-suffering wife is performed gracefully by Maxwell, especially in “Could I Leave You?” Burstein is a talented dancer as well as singer and he brings a necessary verve and pathos to his role.
Part of the thrill of watching “Follies” is that it allows four layers of reality to converge at once. In addition to the guests, there are the ghosts of showgirls (bedecked in Gregg Barnes’ stunning feathered and sequined costumes) who walk slowly, high above the stage on two dimly lit balconies. Third, there are the younger selves of the Follies’ women, who sometimes participate in the singing and dancing.
Finally, in the music itself, there is continual comment on how America changed between the 1940s, when the couples met, and 1971. It’s these visions of the past confronting the present that every woman feels, that remind her of who she used to be and how she has changed.
The clash between past glamour and present reality makes “Follies” a rich and poignant musical. Without sinking into sentimentality or cynicism, this production, carefully directed by Eric Schaeffer, highlights that richness and poignancy.
