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| awards = {{Plain list| | | awards = {{Plain list| | ||
* 1971 | * 1971 – [[New York Drama Critics Award]] for Best Musical | ||
* 1972 | * 1972 – [[Tony Award for Best Score]] | ||
* 1971 | * 1971 – [[Drama Desk Award for Outstanding Music]] | ||
* 1971 | * 1971 – [[Drama Desk Award for Outstanding Lyrics]] | ||
* 1987 | * 1987 – [[Laurence Olivier Award for Best New Musical|Laurence Olivier Award for Musical of the Year]] | ||
* 2012 | * 2012 – [[Drama Desk Award for Outstanding Revival of a Musical]] | ||
* 2018 | * 2018 – [[Laurence Olivier Award for Best Musical Revival]] | ||
}} | }} | ||
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After the failure of ''[[Do I Hear a Waltz?]]'' (1965), for which he had written the lyrics to [[Richard Rodgers]]'s music, [[Stephen Sondheim]] decided that he would henceforth work only on projects where he could write both the music and lyrics himself. He asked author and playwright [[James Goldman]] to join him as [[bookwriter]] for a new musical. Inspired by a ''[[The New York Times|New York Times]]'' article about a gathering of former [[Ziegfeld Girls]], they decided upon a story about ex-[[Showgirl|showgirls]].<ref name=chapin>Chapin, pp. xxii–xxvi, 7</ref> | After the failure of ''[[Do I Hear a Waltz?]]'' (1965), for which he had written the lyrics to [[Richard Rodgers]]'s music, [[Stephen Sondheim]] decided that he would henceforth work only on projects where he could write both the music and lyrics himself. He asked author and playwright [[James Goldman]] to join him as [[bookwriter]] for a new musical. Inspired by a ''[[The New York Times|New York Times]]'' article about a gathering of former [[Ziegfeld Girls]], they decided upon a story about ex-[[Showgirl|showgirls]].<ref name=chapin>Chapin, pp. xxii–xxvi, 7</ref> | ||
Originally titled ''The Girls Upstairs'', the musical was to be produced by [[David Merrick]] and [[Leland Hayward]] in late 1967, but the plans ultimately fell through, and [[Stuart Ostrow]] became the producer, with [[Joseph Hardy (director)|Joseph Hardy]] as director. These plans also did not work out,<ref>Citron, Stephen. [https://books.google.com/books?id=AWaZ1LAFAZEC&pg=PA160 ''Sondheim and Lloyd-Webber: The New Musical'', "Chapter: Prince and Company"]. ''Sondheim and Lloyd-Webber: The New Musical'', Oxford University Press US, 2001, {{ISBN|0-19-509601-0}}, pp. | Originally titled ''The Girls Upstairs'', the musical was to be produced by [[David Merrick]] and [[Leland Hayward]] in late 1967, but the plans ultimately fell through, and [[Stuart Ostrow]] became the producer, with [[Joseph Hardy (director)|Joseph Hardy]] as director. These plans also did not work out,<ref>Citron, Stephen. [https://books.google.com/books?id=AWaZ1LAFAZEC&pg=PA160 ''Sondheim and Lloyd-Webber: The New Musical'', "Chapter: Prince and Company"]. ''Sondheim and Lloyd-Webber: The New Musical'', Oxford University Press US, 2001, {{ISBN|0-19-509601-0}}, pp.159–160</ref> and finally [[Harold Prince]], who had worked previously with Sondheim, became the producer and director. He had agreed to work on ''The Girls Upstairs'' if Sondheim agreed to work on ''[[Company (musical)|Company]]''; [[Michael Bennett (theater)|Michael Bennett]], the young choreographer of ''Company'', was also brought onto the project. It was Prince who changed the title to ''Follies''; he was "intrigued by the psychology of a reunion of old chorus dancers and loved the play on the word 'follies{{'"}}.<ref name=chapin/> | ||
==Plot== | ==Plot== | ||
In 1971, on the soon-to-be-demolished stage of the Weismann Theatre, a reunion is being held to honor the Weismann's ''Follies'' shows past and the beautiful chorus girls who performed there every year between the two world wars. The once resplendent theater is now little but planks and scaffolding ("Prologue"/"Overture"). As the ghosts of the young showgirls slowly drift through the theater, a [[majordomo]] enters with his entourage of waiters and waitresses. They pass through the spectral showgirls without seeing them. | In 1971, on the soon-to-be-demolished stage of the Weismann Theatre, a reunion is being held to honor the Weismann's ''Follies'' shows past and the beautiful chorus girls who performed there every year between the two world wars. The once resplendent theater is now little but planks and scaffolding ("Prologue"/"Overture"). As the ghosts of the young showgirls slowly drift through the theater, a [[majordomo]] enters with his entourage of waiters and waitresses. They pass through the spectral showgirls without seeing them. | ||
Sally Durant Plummer, "blond, petite, sweet-faced" and at 49 "still remarkably like the girl she was thirty years ago",<ref name="script">Sondheim, Stephen, and Goldman, James.[https://books.google.com/books?id=ANllScAXhgoC&q=Sondheim+Follies "Act 1"] ''Follies''. Theatre Communications Group, 2001, {{ISBN|978-1-55936-196-5}}, pp. | Sally Durant Plummer, "blond, petite, sweet-faced" and at 49 "still remarkably like the girl she was thirty years ago",<ref name="script">Sondheim, Stephen, and Goldman, James.[https://books.google.com/books?id=ANllScAXhgoC&q=Sondheim+Follies "Act 1"] ''Follies''. Theatre Communications Group, 2001, {{ISBN|978-1-55936-196-5}}, pp. 2–3, 71</ref> a former Weismann girl, is the first guest to arrive, and her ghostly youthful counterpart moves towards her. Phyllis Rogers Stone, a stylish and elegant woman,<ref name=script/> arrives with her husband Ben, a renowned philanthropist and politician. As their younger counterparts approach them, Phyllis comments to Ben about their past. He feigns a lack of interest; there is an underlying tension in their relationship. As more guests arrive, Sally's husband, Buddy, enters. He is a salesman, in his early 50s, appealing and lively,<ref name=script/> whose smiles cover inner disappointment. | ||
Finally, Weismann enters to greet his guests. Roscoe, the old master of ceremonies, introduces the former showgirls ("Beautiful Girls"). Former Weismann performers at the reunion include Max and Stella Deems, who lost their radio jobs and became store owners in [[Miami]]; Solange La Fitte, a coquette, who is vibrant and flirtatious even at 66; Hattie Walker, who has outlived five younger husbands; Vincent and Vanessa, former dancers who now own an [[Arthur Murray]] franchise; Heidi Schiller, for whom [[Franz Lehár]] once wrote a waltz ("or was it [[Oscar Straus (composer)|Oscar Straus]]?" Facts never interest her; what matters is the song!); and Carlotta Campion, a film star who has embraced life and benefited from every experience. | Finally, Weismann enters to greet his guests. Roscoe, the old master of ceremonies, introduces the former showgirls ("Beautiful Girls"). Former Weismann performers at the reunion include Max and Stella Deems, who lost their radio jobs and became store owners in [[Miami]]; Solange La Fitte, a coquette, who is vibrant and flirtatious even at 66; Hattie Walker, who has outlived five younger husbands; Vincent and Vanessa, former dancers who now own an [[Arthur Murray]] franchise; Heidi Schiller, for whom [[Franz Lehár]] once wrote a waltz ("or was it [[Oscar Straus (composer)|Oscar Straus]]?" Facts never interest her; what matters is the song!); and Carlotta Campion, a film star who has embraced life and benefited from every experience. | ||
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Phyllis begins wondering at her younger self, who worked so hard to become the socialite that Ben needed. Ben yells at his younger self for not appreciating all the work that Phyllis did. Both Buddys enter to confront the Bens about how they stole Sally. Sally and her younger self enter and Ben firmly tells Sally that he never loved her. All the voices begin speaking and yelling at each other. Suddenly, at the peak of madness and confusion, the couples are engulfed by their follies, which transform the rundown theater into a fantastical "Loveland", an extravaganza even more grand and opulent than the gaudiest Weismann confection: "the place where lovers are always young and beautiful, and everyone lives only for love".<ref name=mtiplot>[http://www.mtishows.com/show_detail.asp?showid=000037 "Synopsis"] mtishows.com. Retrieved August 30, 2010.</ref> Sally, Phyllis, Ben, and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown".<ref>Sondheim, pg. 231</ref> | Phyllis begins wondering at her younger self, who worked so hard to become the socialite that Ben needed. Ben yells at his younger self for not appreciating all the work that Phyllis did. Both Buddys enter to confront the Bens about how they stole Sally. Sally and her younger self enter and Ben firmly tells Sally that he never loved her. All the voices begin speaking and yelling at each other. Suddenly, at the peak of madness and confusion, the couples are engulfed by their follies, which transform the rundown theater into a fantastical "Loveland", an extravaganza even more grand and opulent than the gaudiest Weismann confection: "the place where lovers are always young and beautiful, and everyone lives only for love".<ref name=mtiplot>[http://www.mtishows.com/show_detail.asp?showid=000037 "Synopsis"] mtishows.com. Retrieved August 30, 2010.</ref> Sally, Phyllis, Ben, and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown".<ref>Sondheim, pg. 231</ref> | ||
What follows is a series of musical numbers performed by the principal characters, each exploring their biggest desires. The two younger couples sing in a counterpoint of their hopes for the future ("You're Gonna Love Tomorrow/Love Will See Us Through"). Buddy then appears, dressed in "plaid baggy pants, garish jacket, and a shiny derby hat", and performs a high-energy vaudeville routine depicting how he is caught between his love for Sally and Margie's love for him<ref name=script/> ("The God-Why-Don't-You-Love-Me Blues"). Sally appears next, dressed as a torch singer, singing of her passion for Ben from the past | What follows is a series of musical numbers performed by the principal characters, each exploring their biggest desires. The two younger couples sing in a counterpoint of their hopes for the future ("You're Gonna Love Tomorrow/Love Will See Us Through"). Buddy then appears, dressed in "plaid baggy pants, garish jacket, and a shiny derby hat", and performs a high-energy vaudeville routine depicting how he is caught between his love for Sally and Margie's love for him<ref name=script/> ("The God-Why-Don't-You-Love-Me Blues"). Sally appears next, dressed as a torch singer, singing of her passion for Ben from the past – and her obsession with him now ("[[Losing My Mind]]"). In a [[Jazz|jazzy]] dance number, accompanied by a squadron of chorus boys, Phyllis reflects on the two sides of her personality, one naive and passionate and the other jaded and sophisticated and her desire to combine them ("The Story of Lucy and Jessie"). Resplendent in top hat and tails, Ben begins to offer his devil-may-care philosophy ("Live, Laugh, Love"), but stumbles and anxiously calls to the conductor for the lyrics, as he frantically tries to keep going. Ben becomes frenzied, while the dancing ensemble continues as if nothing was wrong. Amidst a deafening discord, Ben screams at all the figures from his past and collapses as he cries out for Phyllis. | ||
"Loveland" has dissolved back into the reality of the crumbling and half-demolished theater; dawn is approaching. Ben admits to Phyllis his admiration for her, and Phyllis shushes him and helps Ben regain his dignity before they leave. After exiting, Buddy escorts the emotionally devastated<ref name=mtiplot/> Sally back to their hotel with the promise to work things out later. Their ghostly younger selves appear, watching them go. The younger Ben and Buddy softly call to their "girls upstairs", and the Follies end. | "Loveland" has dissolved back into the reality of the crumbling and half-demolished theater; dawn is approaching. Ben admits to Phyllis his admiration for her, and Phyllis shushes him and helps Ben regain his dignity before they leave. After exiting, Buddy escorts the emotionally devastated<ref name=mtiplot/> Sally back to their hotel with the promise to work things out later. Their ghostly younger selves appear, watching them go. The younger Ben and Buddy softly call to their "girls upstairs", and the Follies end. | ||
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Hal Prince said: "''Follies'' examines obsessive behavior, neurosis and self-indulgence more microscopically than anything I know of."<ref>Hirsch, Foster. [https://books.google.com/books?id=sbc8AAAAIAAJ&dq=%22Follies+examines+obsessive+behavior%2C+neurosis+and+self-indulgence+more+microscopically+than+anything+I+know+of.%22&pg=PA95 "A little Sondheim music"]. ''Harold Prince and the American Musical Theatre'', CUP Archive, 1989, {{ISBN|0-521-33609-0}}, p. 95</ref> [[Bernadette Peters]] quoted Sondheim on the character of "Sally": "He said early on that [Sally] is off-balance, to put it mildly. He thinks she's very neurotic, and she is very neurotic, so he said to me 'Congratulations. She's crazy.{{'"}}<ref>Gamerman, Ellen.[https://blogs.wsj.com/speakeasy/2011/09/03/bernadette-peters-on-follies-and-puppies "Bernadette Peters on 'Follies' and Puppies"] ''The Wall Street Journal'', September 3, 2011,</ref> [[Martin Gottfried]] wrote: "The concept behind ''Follies'' is theatre nostalgia, representing the rose-colored glasses through which we face the fact of age ... the show is conceived in ghostliness. At its very start, ghosts of Follies showgirls stalk the stage, mythic giants in winged, feathered, black and white opulence. Similarly, ghosts of the Twenties shows slip through the evening as the characters try desperately to regain their youth through re-creations of their performances and inane theatre sentiments of their past."<ref>Gottfried, Martin. [https://www.nytimes.com/books/98/07/19/specials/sondheim-flipping.html Flipping Over 'Follies{{'"}}]. ''[[The New York Times]]'' (books), April 25, 1971</ref> | Hal Prince said: "''Follies'' examines obsessive behavior, neurosis and self-indulgence more microscopically than anything I know of."<ref>Hirsch, Foster. [https://books.google.com/books?id=sbc8AAAAIAAJ&dq=%22Follies+examines+obsessive+behavior%2C+neurosis+and+self-indulgence+more+microscopically+than+anything+I+know+of.%22&pg=PA95 "A little Sondheim music"]. ''Harold Prince and the American Musical Theatre'', CUP Archive, 1989, {{ISBN|0-521-33609-0}}, p. 95</ref> [[Bernadette Peters]] quoted Sondheim on the character of "Sally": "He said early on that [Sally] is off-balance, to put it mildly. He thinks she's very neurotic, and she is very neurotic, so he said to me 'Congratulations. She's crazy.{{'"}}<ref>Gamerman, Ellen.[https://blogs.wsj.com/speakeasy/2011/09/03/bernadette-peters-on-follies-and-puppies "Bernadette Peters on 'Follies' and Puppies"] ''The Wall Street Journal'', September 3, 2011,</ref> [[Martin Gottfried]] wrote: "The concept behind ''Follies'' is theatre nostalgia, representing the rose-colored glasses through which we face the fact of age ... the show is conceived in ghostliness. At its very start, ghosts of Follies showgirls stalk the stage, mythic giants in winged, feathered, black and white opulence. Similarly, ghosts of the Twenties shows slip through the evening as the characters try desperately to regain their youth through re-creations of their performances and inane theatre sentiments of their past."<ref>Gottfried, Martin. [https://www.nytimes.com/books/98/07/19/specials/sondheim-flipping.html Flipping Over 'Follies{{'"}}]. ''[[The New York Times]]'' (books), April 25, 1971</ref> | ||
Joanne Gordon, author and chair and artistic director, Theatre, at [[California State University, Long Beach]],<ref>[http://www.csulb.edu/depts/theatre/StaffDirectory/Faculty "Faculty, Theatre Arts, California State University, Long Beach"] {{Webarchive|url=https://web.archive.org/web/20111012071604/http://www.csulb.edu/depts/theatre/StaffDirectory/Faculty |date=October 12, 2011 }} California State University, accessed September 30, 2011</ref><ref>[https://books.google.com/books?id=Z03LEC1gFOIC&q=%22Joanne+Gordon%22&pg=PA107 "Joanne Gordon"] ''Stephen Sondheim: A Casebook'' (1999), Taylor & Francis, {{ISBN|0-8153-3586-5}}</ref> wrote "''Follies'' is in part an affectionate look at the American musical theatre between the two World Wars and provides Sondheim with an opportunity to use the traditional conventions of the genre to reveal the hollowness and falsity of his characters' dreams and illusions. The emotional high generated by the reunion of the Follies girls ultimately gives way to anger, disappointment, and weary resignation to reality."<ref>Gordon, Joanne. [https://books.google.com/books?id=Z03LEC1gFOIC&dq=Sondheim+%22Pacific+Overtures%22+Wheeler&pg=PA107 "The Art of Illusion"] ''Stephen Sondheim: A Casebook'' (1999), Taylor & Francis, {{ISBN|0-8153-3586-5}}, pp. | Joanne Gordon, author and chair and artistic director, Theatre, at [[California State University, Long Beach]],<ref>[http://www.csulb.edu/depts/theatre/StaffDirectory/Faculty "Faculty, Theatre Arts, California State University, Long Beach"] {{Webarchive|url=https://web.archive.org/web/20111012071604/http://www.csulb.edu/depts/theatre/StaffDirectory/Faculty |date=October 12, 2011 }} California State University, accessed September 30, 2011</ref><ref>[https://books.google.com/books?id=Z03LEC1gFOIC&q=%22Joanne+Gordon%22&pg=PA107 "Joanne Gordon"] ''Stephen Sondheim: A Casebook'' (1999), Taylor & Francis, {{ISBN|0-8153-3586-5}}</ref> wrote "''Follies'' is in part an affectionate look at the American musical theatre between the two World Wars and provides Sondheim with an opportunity to use the traditional conventions of the genre to reveal the hollowness and falsity of his characters' dreams and illusions. The emotional high generated by the reunion of the Follies girls ultimately gives way to anger, disappointment, and weary resignation to reality."<ref>Gordon, Joanne. [https://books.google.com/books?id=Z03LEC1gFOIC&dq=Sondheim+%22Pacific+Overtures%22+Wheeler&pg=PA107 "The Art of Illusion"] ''Stephen Sondheim: A Casebook'' (1999), Taylor & Francis, {{ISBN|0-8153-3586-5}}, pp. 109–110</ref> ''Follies'' contains two scores: the Follies [[pastiche]] numbers and the book numbers.<ref name="sond2">[http://www.sondheim.com/shows/follies {{"'}}Follies' analysis and summary"] sondheim.com. Retrieved August 29, 2010.</ref> Some of the Follies numbers imitate the style of particular composers of the early 20th century: "[[Losing My Mind]]" is in the style of a [[George Gershwin]] ballad "[[The Man I Love (song)|The Man I Love]]".<ref>Swayne, Steve. ''How Sondheim Found His Sound'' (2007). University of Michigan Press. {{ISBN|978-0-472-03229-7}}. p.105</ref> Sondheim noted that the song "The God-Why-Don't-You-Love-Me Blues" is "another generic pastiche: [[vaudeville]] music for chases and low comics, but with a patter lyric... I tried to give it the sardonic knowingness of [[Lorenz Hart]] or [[Frank Loesser]]."<ref>Sondheim, p. 235</ref> | ||
"Loveland", the final musical sequence, (that "consumed the last half-hour of the original" production<ref name=" liner">Kirkeby, Marc (released April 1971). "Liner notes to original Broadway cast recording". ''Follies'' (p. 14). [CD booklet]. Capitol Records, 1971. Angel Records, 1992. Middlesex. EMI Records, Ltd.</ref>) is akin to an imaginary 1941 ''[[Ziegfeld Follies]]'' sequence, with Sally, Phyllis, Ben and Buddy performing "like comics and torch singers from a Broadway of yore."<ref name=BWWRoundup/> "Loveland" features a string of vaudeville-style numbers, reflecting the leading characters' emotional problems, before returning to the theater for the end of the reunion party. The four characters are "whisked into a dream show in which each acts out his or her own principal 'folly{{'"}}.<ref name=liner/> | "Loveland", the final musical sequence, (that "consumed the last half-hour of the original" production<ref name=" liner">Kirkeby, Marc (released April 1971). "Liner notes to original Broadway cast recording". ''Follies'' (p. 14). [CD booklet]. Capitol Records, 1971. Angel Records, 1992. Middlesex. EMI Records, Ltd.</ref>) is akin to an imaginary 1941 ''[[Ziegfeld Follies]]'' sequence, with Sally, Phyllis, Ben and Buddy performing "like comics and torch singers from a Broadway of yore."<ref name=BWWRoundup/> "Loveland" features a string of vaudeville-style numbers, reflecting the leading characters' emotional problems, before returning to the theater for the end of the reunion party. The four characters are "whisked into a dream show in which each acts out his or her own principal 'folly{{'"}}.<ref name=liner/> | ||
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===1971 original Broadway=== | ===1971 original Broadway=== | ||
For its pre-Broadway tryout at the [[Colonial Theatre (Boston)|Colonial Theatre]] in [[Boston]], ''Follies'' began previews on February 20, running February 24 through March 20, 1971.<ref>{{cite web | title=Follies (Original Broadway Production, 1971) | website=Ovrtur: Database of Musical Theatre History | url=https://ovrtur.com/production/2880435 | access-date=2026-01-07}}</ref><ref>[http://www.sondheimguide.com/follies.html#Broadway {{"'}}Follies' listing, Broadway 1971"] sondheimguide.com, retrieved December 30. 2010</ref><ref>Kelly, Kevin. [https://pqasb.pqarchiver.com/boston/access/1933059852.html?FMT=ABS&FMTS=ABS:AI&type=historic1&date=Feb+25%2C+1971&author=Kevin+Kelly&pub=Boston+Globe+(1960-1979)&edition=&startpage=41&desc=Theater+review "Abstract-'Follies' musical opens at Colonial"] {{Webarchive|url=https://web.archive.org/web/20121104214810/http://pqasb.pqarchiver.com/boston/access/1933059852.html?FMT=ABS&FMTS=ABS%3AAI&type=historic1&date=Feb%2025%2C%201971&author=Kevin%20Kelly&pub=Boston%20Globe%20%281960-1979%29&edition=&startpage=41&desc=Theater%20review |date=November 4, 2012 }}. ''Boston Globe'', February 25, 1971</ref> | |||
[[File: Follies stage.jpg|thumb|right|Model of set design by [[Boris Aronson]]]] | [[File: Follies stage.jpg|thumb|right|Model of set design by [[Boris Aronson]]]] | ||
''Follies'' premiered on Broadway on April 4, 1971, at the [[Winter Garden Theatre]]. It was directed by Harold Prince and Michael Bennett, with choreography by Bennett, scenic design by [[Boris Aronson]], costumes by [[Florence Klotz]], and lighting by [[Tharon Musser]]. It starred [[Alexis Smith]] (Phyllis), [[John McMartin]] (Ben), [[Dorothy Collins]] (Sally), [[Gene Nelson]] (Buddy), along with several veterans of the Broadway and vaudeville stage. The supporting role of Carlotta was created by [[Yvonne De Carlo]] and usually is given to a well-known veteran performer who can belt out a song. Other notable performers in the original productions were [[Fifi D'Orsay]] as Solange LaFitte, [[Justine Johnston]] as Heidi Schiller, [[Mary McCarty (actress)|Mary McCarty]] as Stella Deems, [[Arnold Moss]] as Dimitri Weismann, [[Ethel Shutta]] as Hattie Walker, and Marcie Stringer and Charles Welch as Emily and Theodore Whitman. | ''Follies'' premiered on Broadway on April 4, 1971, at the [[Winter Garden Theatre]]. It was directed by Harold Prince and Michael Bennett, with choreography by Bennett, scenic design by [[Boris Aronson]], costumes by [[Florence Klotz]], and lighting by [[Tharon Musser]]. It starred [[Alexis Smith]] (Phyllis), [[John McMartin]] (Ben), [[Dorothy Collins]] (Sally), [[Gene Nelson]] (Buddy), along with several veterans of the Broadway and vaudeville stage. The supporting role of Carlotta was created by [[Yvonne De Carlo]] and usually is given to a well-known veteran performer who can belt out a song. Other notable performers in the original productions were [[Fifi D'Orsay]] as Solange LaFitte, [[Justine Johnston]] as Heidi Schiller, [[Mary McCarty (actress)|Mary McCarty]] as Stella Deems, [[Arnold Moss]] as Dimitri Weismann, [[Ethel Shutta]] as Hattie Walker, and Marcie Stringer and Charles Welch as Emily and Theodore Whitman. | ||
The show closed on July 1, 1972, after 522 performances and 12 previews. According to ''[[Variety (magazine)|Variety]]'', the production was a "total financial failure, with a cumulative loss of $792,000."<ref>Chapin, p. 310</ref> Prince planned to present the musical on the [[West Coast of the United States|West Coast]] and then on a national tour. However, the show did not do well in its [[Los Angeles]] engagement and plans for a tour ended.<ref>Chapin, pp. | The show closed on July 1, 1972, after 522 performances and 12 previews. According to ''[[Variety (magazine)|Variety]]'', the production was a "total financial failure, with a cumulative loss of $792,000."<ref>Chapin, p. 310</ref> Prince planned to present the musical on the [[West Coast of the United States|West Coast]] and then on a national tour. However, the show did not do well in its [[Los Angeles]] engagement and plans for a tour ended.<ref>Chapin, pp. 309–310</ref> | ||
[[Frank Rich]], for many years the chief drama critic for ''[[The New York Times]]'', had first garnered attention, while an undergraduate at [[Harvard University]], with a lengthy essay for the ''[[Harvard Crimson]]'' about the show, which he had seen during its pre-Broadway run in Boston. He predicted that the show eventually would achieve recognition as a Broadway classic.<ref>Chapin, pp. 116, | [[Frank Rich]], for many years the chief drama critic for ''[[The New York Times]]'', had first garnered attention, while an undergraduate at [[Harvard University]], with a lengthy essay for the ''[[Harvard Crimson]]'' about the show, which he had seen during its pre-Broadway run in Boston. He predicted that the show eventually would achieve recognition as a Broadway classic.<ref>Chapin, pp. 116, 193–95</ref> Rich later wrote that audiences at the original production were baffled and restless.<ref name="rich1">Rich, Frank. [https://query.nytimes.com/gst/fullpage.html?res=9403E1DD133BF936A2575AC0A963948260 "Stage View; Sondheim's 'Follies' Evokes Old Broadway"]. ''The New York Times'', September 15, 1985</ref> | ||
For commercial reasons, the cast album was cut from two LPs to one early in production. Most songs were therefore heavily abridged and several were left entirely unrecorded. According to [[Craig Zadan]], "It's generally felt that ... Prince made a mistake by giving the recording rights of ''Follies'' to [[Capitol Records]], which in order to squeeze the unusually long score onto one disc, mutilated the songs by condensing some and omitting others."<ref>Zadan, p. 175</ref> Chapin confirms this: "Alas ... final word came from Capitol that they would not go for two records ... [Dick Jones] now had to propose cuts throughout the score in consultation with Steve."<ref>Chapin, p. 279</ref> "One More Kiss" was omitted from the final release but was restored for CD release. Chapin relates that "there was one song that Dick Jones [producer of the cast album] didn't want to include on the album but which Steve Sondheim most definitely did. The song was "One More Kiss", and the compromise was that if there was time, it would be recorded, even if Jones couldn't promise it would end up on the album. (It did get recorded but didn't make its way onto the album until the CD reissue years later.)"<ref>Chapin, p. 305</ref><ref>[http://www.sondheimguide.com/folliesrec.html#BWR {{"'}}Follies' 1971 Original Broadway Cast Recording"]. sondheimguide.com, retrieved December 14, 2010</ref> | For commercial reasons, the cast album was cut from two LPs to one early in production. Most songs were therefore heavily abridged and several were left entirely unrecorded. According to [[Craig Zadan]], "It's generally felt that ... Prince made a mistake by giving the recording rights of ''Follies'' to [[Capitol Records]], which in order to squeeze the unusually long score onto one disc, mutilated the songs by condensing some and omitting others."<ref>Zadan, p. 175</ref> Chapin confirms this: "Alas ... final word came from Capitol that they would not go for two records ... [Dick Jones] now had to propose cuts throughout the score in consultation with Steve."<ref>Chapin, p. 279</ref> "One More Kiss" was omitted from the final release but was restored for CD release. Chapin relates that "there was one song that Dick Jones [producer of the cast album] didn't want to include on the album but which Steve Sondheim most definitely did. The song was "One More Kiss", and the compromise was that if there was time, it would be recorded, even if Jones couldn't promise it would end up on the album. (It did get recorded but didn't make its way onto the album until the CD reissue years later.)"<ref>Chapin, p. 305</ref><ref>[http://www.sondheimguide.com/folliesrec.html#BWR {{"'}}Follies' 1971 Original Broadway Cast Recording"]. sondheimguide.com, retrieved December 14, 2010</ref> | ||
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Critics who had seen the production in New York (such as Frank Rich) found it substantially more "upbeat" and lacking in the atmosphere it had originally possessed. According to the [[Associated Press]] (AP) reviewer, "A revised version of the Broadway hit ''Follies'' received a standing ovation from its opening-night audience and raves from British critics, who stated the show was worth a 16-year wait." The AP quoted [[Michael Coveney]] of the ''[[Financial Times]]'', who wrote: "''Follies'' is a great deal more than a camp love-in for old [[burlesque]] buffs and Sondheim aficionados."<ref>Wolf, Matt. Associated Press. "Revised ''Follies'' Gets Rave Reception in London". July 23, 1987, International News section</ref> In ''The New York Times'', the critic [[Francis X. Clines]] wrote: "The initial critics' reviews ranged from unqualified raves to some doubts whether the reworked book of James Goldman is up to the inventiveness of Sondheim's songs. 'A truly fantastic evening,' ''The Financial Times'' concluded, while the London ''[[London Daily News|Daily News]]'' stated 'The musical is inspired,' and ''[[The Times]]'' described the evening as 'a wonderful idea for a show which has failed to grow into a story.{{'"}}<ref name=clines/> ''The Times'' critic [[Irving Wardle]] stated "It is not much of a story, and whatever possibilities it may have had in theory are scuppered by James Goldman's book ... a blend of lifeless small-talk, bitching and dreadful gags".<ref>Wardle, Irving. "Show without a story", ''[[The Times]]'', July 22, 1987, p. 16</ref> Clines further commented: "In part, the show is a tribute to musical stage history, in which the 57-year-old Mr Sondheim is steeped, for he first learned song writing at the knee of [[Oscar Hammerstein II]] and became the acknowledged master songwriter who bridged past musical stage romance into the modern musical era of irony and neurosis. ''Follies'' is a blend of both, and the new production is rounded out with production numbers celebrating love's simple hope for young lovers, its extravagant fantasies for [[Florenz Ziegfeld Jr.|Ziegfeld]] aficionados, and its fresh lesson for the graying principals."<ref name=clines>Clines, Francis X. "Follies' Restaged In London", ''The New York Times''. July 23, 1987, p. C17</ref> | Critics who had seen the production in New York (such as Frank Rich) found it substantially more "upbeat" and lacking in the atmosphere it had originally possessed. According to the [[Associated Press]] (AP) reviewer, "A revised version of the Broadway hit ''Follies'' received a standing ovation from its opening-night audience and raves from British critics, who stated the show was worth a 16-year wait." The AP quoted [[Michael Coveney]] of the ''[[Financial Times]]'', who wrote: "''Follies'' is a great deal more than a camp love-in for old [[burlesque]] buffs and Sondheim aficionados."<ref>Wolf, Matt. Associated Press. "Revised ''Follies'' Gets Rave Reception in London". July 23, 1987, International News section</ref> In ''The New York Times'', the critic [[Francis X. Clines]] wrote: "The initial critics' reviews ranged from unqualified raves to some doubts whether the reworked book of James Goldman is up to the inventiveness of Sondheim's songs. 'A truly fantastic evening,' ''The Financial Times'' concluded, while the London ''[[London Daily News|Daily News]]'' stated 'The musical is inspired,' and ''[[The Times]]'' described the evening as 'a wonderful idea for a show which has failed to grow into a story.{{'"}}<ref name=clines/> ''The Times'' critic [[Irving Wardle]] stated "It is not much of a story, and whatever possibilities it may have had in theory are scuppered by James Goldman's book ... a blend of lifeless small-talk, bitching and dreadful gags".<ref>Wardle, Irving. "Show without a story", ''[[The Times]]'', July 22, 1987, p. 16</ref> Clines further commented: "In part, the show is a tribute to musical stage history, in which the 57-year-old Mr Sondheim is steeped, for he first learned song writing at the knee of [[Oscar Hammerstein II]] and became the acknowledged master songwriter who bridged past musical stage romance into the modern musical era of irony and neurosis. ''Follies'' is a blend of both, and the new production is rounded out with production numbers celebrating love's simple hope for young lovers, its extravagant fantasies for [[Florenz Ziegfeld Jr.|Ziegfeld]] aficionados, and its fresh lesson for the graying principals."<ref name=clines>Clines, Francis X. "Follies' Restaged In London", ''The New York Times''. July 23, 1987, p. C17</ref> | ||
This production was also recorded on two CDs and was the first full recording.<ref>[http://www.sondheimguide.com/folliesrec.html#LCR {{"'}}Follies' | This production was also recorded on two CDs and was the first full recording.<ref>[http://www.sondheimguide.com/folliesrec.html#LCR {{"'}}Follies' – The First Complete Recording"] sondheimguide.com. Retrieved August 29, 2010</ref> | ||
''Follies'' was voted ninth in a [[BBC Radio 2]] listener poll of the UK's "Nation's Number One Essential Musicals".<ref>[http://www.bbc.co.uk/radio2/shows/paige/essentialvote.shtml "BBC | ''Follies'' was voted ninth in a [[BBC Radio 2]] listener poll of the UK's "Nation's Number One Essential Musicals".<ref>[http://www.bbc.co.uk/radio2/shows/paige/essentialvote.shtml "BBC – Radio 2 – Elaine Paige"]. bbc.co.uk</ref> | ||
===U.S. regional productions=== | ===U.S. regional productions=== | ||
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The Paper Mill production received a full-length recording on two CDs, including not only the entire score as originally written but a lengthy appendix of songs cut from the original production in tryouts.<ref>[http://www.sondheimguide.com/folliesrec.html#paperocr "Paper Mill recording listing"]. sondheimguide.com. Retrieved August 29, 2010.</ref> Ben Brantley of [[The New York Times]] raved, stating, “In resurrecting the musical memory play that is ''Follies,'' Mr. Johanson and his first-rate production team are working from the template established by Mr. Prince, Mr. Bennett and the great designers Boris Aronson (sets) and Florence Klotz (costumes). They don't reinvent ''Follies,'' but they do clarify it, without undercutting the show's uniquely impressionistic qualities. The production, bolstered by Mr. Mitchell's elegant choreography, is especially strong in shifting much of the burden of the four principals' romantic history from Mr. Goldman's book to the imagistic use of the characters' younger selves.”<ref name="Beguiled">[https://www.nytimes.com/1998/05/08/movies/theater-review-beguiled-by-the-past.html "Beguiled by the Past"]. Nytimes.com. Retrieved January 20, 2025.</ref> Brantley also lauded Roberts and McKechnie, writing, “Mr. Roberts brings a lacerating, truly moving rage to Buddy's exasperation, especially in the song ''The Right Girl,'' in which Buddy dances confrontationally with his young alter ego. Ms. McKechnie is beyond fault. The sweet, embattled overeagerness that has characterized her performances since her Tony-winning role in ''A Chorus Line'' has never been so appropriately or affectingly used. Nor has her voice, which marvelously plumbs the torchy despair of the ballad ''Losing My Mind,'' ever seemed richer or more controlled.”<ref name="Beguiled" /> | The Paper Mill production received a full-length recording on two CDs, including not only the entire score as originally written but a lengthy appendix of songs cut from the original production in tryouts.<ref>[http://www.sondheimguide.com/folliesrec.html#paperocr "Paper Mill recording listing"]. sondheimguide.com. Retrieved August 29, 2010.</ref> Ben Brantley of [[The New York Times]] raved, stating, “In resurrecting the musical memory play that is ''Follies,'' Mr. Johanson and his first-rate production team are working from the template established by Mr. Prince, Mr. Bennett and the great designers Boris Aronson (sets) and Florence Klotz (costumes). They don't reinvent ''Follies,'' but they do clarify it, without undercutting the show's uniquely impressionistic qualities. The production, bolstered by Mr. Mitchell's elegant choreography, is especially strong in shifting much of the burden of the four principals' romantic history from Mr. Goldman's book to the imagistic use of the characters' younger selves.”<ref name="Beguiled">[https://www.nytimes.com/1998/05/08/movies/theater-review-beguiled-by-the-past.html "Beguiled by the Past"]. Nytimes.com. Retrieved January 20, 2025.</ref> Brantley also lauded Roberts and McKechnie, writing, “Mr. Roberts brings a lacerating, truly moving rage to Buddy's exasperation, especially in the song ''The Right Girl,'' in which Buddy dances confrontationally with his young alter ego. Ms. McKechnie is beyond fault. The sweet, embattled overeagerness that has characterized her performances since her Tony-winning role in ''A Chorus Line'' has never been so appropriately or affectingly used. Nor has her voice, which marvelously plumbs the torchy despair of the ballad ''Losing My Mind,'' ever seemed richer or more controlled.”<ref name="Beguiled" /> | ||
Ann Miller was singled-out, Brantley declaring, “The fact of the matter is, Ms. Miller is sincere | Ann Miller was singled-out, Brantley declaring, “The fact of the matter is, Ms. Miller is sincere – heartbreakingly, splendidly so – when she performs ''I'm Still Here,'' the great anthem to survival in show business, and so is the production that features her to such revelatory advantage... She could get away with doing just that, of course, given her own iconic status as the peppy, raven-haired tap dancer with the keyboard smile in MGM movie musicals. Instead, she addresses the audience, in a weathered trumpet of a voice, with the considered earnestness of a woman in a confessional... Ms. Miller's solo takes up about five minutes, and she's rarely center stage otherwise. But she is the very essence of this emotionally rich, exquisite-looking production, which has been lovingly and precisely directed by Robert Johanson, with matching choreography by Jerry Mitchell. Ms. Miller may get teary-eyed during her song (certainly, you will), but her vision isn't blurred by false sentiment. Her Carlotta is a woman who has made a truce with where and what she has been. She can speak directly to who she was.“<ref name="Beguiled" /> This production was met with such glowing reviews that there were calls to transfer it to Broadway.<ref>[https://www.nytimes.com/1998/06/14/arts/theater-a-stage-eras-passing-gave-birth-to-follies.html "A Stage Era's Passing Gave Birth to 'Follies'"]. Nytimes.com. Retrieved January 20, 2025.</ref> Robert L. Daniels of ''[[Variety (magazine)|Variety]]'' wrote, “The Paper Mill creative team has mounted a dazzling production. From the gloomy backstage climate of catwalks, call-boards and sandbags to a proscenium arch adorned with sculptural ornamentation, Michael Anania's set addresses the seedy grandeur of a faded theatrical temple doomed to the wrecking ball. Gregg Barnes has costumed the stately showgirls in a gorgeous array of towering headdresses and butterfly wings. The ghostly statuesque beauties who haunt the old showplace float by in shadowy silver and gray gowns.”<ref>[https://variety.com/1998/legit/reviews/follies-4-1200453760/ "Follies"]. Variety.com. Retrieved January 20, 2025.</ref> However, despite rave reviews, the revival was nixed by book writer James Goldman's wife Barbara, who controlled her husband's interests in the musical. Barbara Goldman reportedly wanted a different production to be mounted by Roundabout, leading to the eventual 2001 Broadway revival with a different team and cast.<ref>{{cite web |last1=Hunsucker |first1=AJ |title=The Girls Upstairs: Stories of 1998's Ill-Fated FOLLIES |url=https://www.broadwayworld.com/article/The-Girls-Upstairs-Stories-of-1998s-Ill-Fated-FOLLIES-20230507 |website=BroadwayWorld |access-date=8 May 2023}}</ref> | ||
[[Julianne Boyd]] directed a fully staged version of ''Follies'' in 2005 by the [[Barrington Stage Company]] (Massachusetts) in June–July 2005. The principal cast included [[Kim Crosby (singer)|Kim Crosby]] (Sally), Leslie Denniston (Phyllis), [[Jeff McCarthy]] (Ben), [[Lara Teeter]] (Buddy), Joy Franz (Solange), [[Marni Nixon]] (Heidi), and [[Donna McKechnie]] (Carlotta). Stephen Sondheim attended one of the performances.<ref>Sommer, Elyse. [http://www.curtainup.com/folliesberk.html "A CurtainUp Berkshires Review:'Follies{{'"}}]. ''Curtain Up'', June 26, 2005</ref> | [[Julianne Boyd]] directed a fully staged version of ''Follies'' in 2005 by the [[Barrington Stage Company]] (Massachusetts) in June–July 2005. The principal cast included [[Kim Crosby (singer)|Kim Crosby]] (Sally), Leslie Denniston (Phyllis), [[Jeff McCarthy]] (Ben), [[Lara Teeter]] (Buddy), Joy Franz (Solange), [[Marni Nixon]] (Heidi), and [[Donna McKechnie]] (Carlotta). Stephen Sondheim attended one of the performances.<ref>Sommer, Elyse. [http://www.curtainup.com/folliesberk.html "A CurtainUp Berkshires Review:'Follies{{'"}}]. ''Curtain Up'', June 26, 2005</ref> | ||
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===2002 London revival=== | ===2002 London revival=== | ||
A production was mounted at London's [[Royal Festival Hall]] in a limited engagement. After previews from August 3, 2002, it opened officially on August 6, and closed on August 31, 2002. Paul Kerryson | A production was mounted at London's [[Royal Festival Hall]] in a limited engagement. After previews from August 3, 2002, it opened officially on August 6, and closed on August 31, 2002. Paul Kerryson – who had choreographed the UK premiere in 1984 – directed, and the cast starred David Durham as Ben, [[Kathryn Evans]] as Sally, [[Louise Gold]] as Phyllis, [[Julia Goss]] as Heidi and [[Henry Goodman]] as Buddy. Variety singer and performer Joan Savage sang "Broadway Baby".<ref>Gans, Andrew. [http://www.playbill.com/news/article/70718-Peters-Withdraws-from-London-Follies-Casting-Almost-Complete "Peters Withdraws from London Follies; Casting Almost Complete"] {{webarchive|url=https://web.archive.org/web/20121017223618/http://www.playbill.com/news/article/70718-Peters-Withdraws-from-London-Follies-Casting-Almost-Complete |date=October 17, 2012 }}. ''Playbill'', July 8, 2002</ref><ref>Beaumont, Sarah. [http://www.whatsonstage.com/reviews/theatre/london/E8821028720239/Follies.html "Follies review"] {{webarchive|url=https://web.archive.org/web/20110615160848/http://www.whatsonstage.com/reviews/theatre/london/E8821028720239/Follies.html |date=June 15, 2011 }}. whatsonstage.com, August 7, 2002</ref><ref>Bassett, Kate. [https://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/follies-royal-festival-hall-londonbreuphorium-roundhouse-undercroft-london-748818.html {{"'}}Follies', Royal Festival Hall, London"]{{dead link|date=August 2021|bot=medic}}{{cbignore|bot=medic}}. ''The Independent'', August 18, 2002</ref> This production conducted by Julian Kelly featured the original Broadway score.<ref>[http://www.albemarle-london.com/Archive/ArchiveShow.php?Show_Name=Follies "Archive-'Follies'{{'}}, 2002"] {{webarchive|url=https://web.archive.org/web/20101213061547/http://albemarle-london.com/Archive/ArchiveShow.php?Show_Name=Follies |date=December 13, 2010 }}. albemarle-london.com. Retrieved on December 31, 2010</ref> | ||
===2002 Los Angeles=== | ===2002 Los Angeles=== | ||
''Follies'' was part of L.A.'s Reprise series, and it was housed at the [[Wadsworth Theatre]], presented as a staged concert, running from June 15 to 23, 2002. The production was directed by [[Arthur Allan Seidelman]], set design by Ray Klausen, lighting design by Tom Ruzika, costumes by Randy Gardell, sound design by Philip G. Allen, choreography by Kay Cole, musical director Gerald Sternbach.<ref>{{cite news|url=https://www.latimes.com/archives/la-xpm-2002-jun-18-et-johnson18-story.html|title='Follies' remains marvelous contradiction|first=Reed|last=Johnson|newspaper=Los Angeles Times|date=June 16, 2002|access-date=January 12, 2018}}</ref> | ''Follies'' was part of L.A.'s Reprise series, and it was housed at the [[Wadsworth Theatre]], presented as a staged concert, running from June 15 to 23, 2002. The production was directed by [[Arthur Allan Seidelman]], set design by Ray Klausen, lighting design by Tom Ruzika, costumes by Randy Gardell, sound design by Philip G. Allen, choreography by Kay Cole, musical director Gerald Sternbach.<ref>{{cite news|url=https://www.latimes.com/archives/la-xpm-2002-jun-18-et-johnson18-story.html|title='Follies' remains marvelous contradiction|first=Reed|last=Johnson|newspaper=Los Angeles Times|date=June 16, 2002|access-date=January 12, 2018}}</ref> | ||
The production starred [[Bob Gunton]] (Ben), [[Warren Berlinger]] (Dimitri Weismann), [[Patty Duke]] (Phyllis), [[Vikki Carr]] (Sally), [[Harry Groener]] (Buddy), [[Carole Cook]] (Hattie), [[Carol Lawrence]] (Vanessa), [[Ken Page]] (Roscoe), [[Liz Torres]] (Stella), [[Amanda McBroom]] (Solange), [[Grover Dale]] (Vincent), Donna McKechnie (Carlotta), Carole Swarbrick (Christine), [[Stella Stevens]] (Dee Dee), [[Mary Jo Catlett]] (Emily), [[Justine Johnston]] (Heidi), [[Jean Louisa Kelly]] (Young Sally), [[Austin Miller]] (Young Buddy), Tia Riebling (Young Phyllis), [[Kevin Earley]] (Young Ben), Abby Feldman (Young Stella), Barbara Chiofalo (Young Heidi), Trevor Brackney (Young Vincent), Melissa Driscoll (Young Vanessa), Stephen Reed (Kevin), and Billy Barnes (Theodore).<ref>Ehren, Christine.[http://www.playbill.com/news/article/68826-What-Follies-Linden-Duke-Carr-Bosley-Do-Sondheim-in-LA-June-15-23 "What Follies! Linden, Duke, Carr, Bosley Do Sondheim in L.A. June | The production starred [[Bob Gunton]] (Ben), [[Warren Berlinger]] (Dimitri Weismann), [[Patty Duke]] (Phyllis), [[Vikki Carr]] (Sally), [[Harry Groener]] (Buddy), [[Carole Cook]] (Hattie), [[Carol Lawrence]] (Vanessa), [[Ken Page]] (Roscoe), [[Liz Torres]] (Stella), [[Amanda McBroom]] (Solange), [[Grover Dale]] (Vincent), Donna McKechnie (Carlotta), Carole Swarbrick (Christine), [[Stella Stevens]] (Dee Dee), [[Mary Jo Catlett]] (Emily), [[Justine Johnston]] (Heidi), [[Jean Louisa Kelly]] (Young Sally), [[Austin Miller]] (Young Buddy), Tia Riebling (Young Phyllis), [[Kevin Earley]] (Young Ben), Abby Feldman (Young Stella), Barbara Chiofalo (Young Heidi), Trevor Brackney (Young Vincent), Melissa Driscoll (Young Vanessa), Stephen Reed (Kevin), and Billy Barnes (Theodore).<ref>Ehren, Christine.[http://www.playbill.com/news/article/68826-What-Follies-Linden-Duke-Carr-Bosley-Do-Sondheim-in-LA-June-15-23 "What Follies! Linden, Duke, Carr, Bosley Do Sondheim in L.A. June 15–23"] {{webarchive|url=https://web.archive.org/web/20140312224535/http://www.playbill.com/news/article/68826-What-Follies-Linden-Duke-Carr-Bosley-Do-Sondheim-in-LA-June-15-23 |date=March 12, 2014 }} ''Playbill'', April 11, 2002</ref> [[Hal Linden]] originally was going to play Ben, but left because he was cast in the Broadway revival of ''[[Cabaret (musical)|Cabaret]]'' as Herr Schultz.<ref>Ehren, Christine.[https://archive.today/20120908213625/http://www.playbill.com/news/article/69354-Evitas-Bob-Gunton-Replaces-Hal-Linden-as-Ben-in-LA-Follies-June-15-23 "Evita's Bob Gunton Replaces Hal Linden as Ben in L.A. 'Follies' June 15–23"] ''Playbill'', May 6, 2002</ref> [[Tom Bosley]] originally was cast as Dimitri Weismann. | ||
===2003 Ann Arbor=== | ===2003 Ann Arbor=== | ||
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===2007 New York City Center Encores!=== | ===2007 New York City Center Encores!=== | ||
[[New York City Center]]'s [[Encores!]] "Great American Musicals in Concert" series featured ''Follies'' as its 40th production for six performances in February 2007 in a sold out semi-staged concert. The cast starred [[Donna Murphy]] (Phyllis), [[Victoria Clark]] (Sally), [[Victor Garber]] (Ben) and [[Michael McGrath (actor)|Michael McGrath]] (Buddy). [[Christine Baranski]] played Carlotta, and [[Lucine Amara]] sang Heidi. The cast included [[Anne Rogers]], [[Jo Anne Worley]] and [[Philip Bosco]]. The director and choreographer was [[Casey Nicholaw]].<ref>Kenrick, John. [http://www.musicals101.com/follies07.htm {{"'}}Follies', Encores at NY City Center | [[New York City Center]]'s [[Encores!]] "Great American Musicals in Concert" series featured ''Follies'' as its 40th production for six performances in February 2007 in a sold out semi-staged concert. The cast starred [[Donna Murphy]] (Phyllis), [[Victoria Clark]] (Sally), [[Victor Garber]] (Ben) and [[Michael McGrath (actor)|Michael McGrath]] (Buddy). [[Christine Baranski]] played Carlotta, and [[Lucine Amara]] sang Heidi. The cast included [[Anne Rogers]], [[Jo Anne Worley]] and [[Philip Bosco]]. The director and choreographer was [[Casey Nicholaw]].<ref>Kenrick, John. [http://www.musicals101.com/follies07.htm {{"'}}Follies', Encores at NY City Center – NYC, Review"]. Musicals101.com, February 2007. Retrieved January 1, 2011</ref><ref>Gans, Andrew. [http://www.playbill.com/news/article/105554-Live-Laugh-Love-Follies-Begins-City-Center-Encores-Run-Feb-8 {{"'}}Live, Laugh, Love': 'Follies' Begins City Center Encores! Run Feb. 8"] {{webarchive|url=https://web.archive.org/web/20110604181229/http://www.playbill.com/news/article/105554-Live-Laugh-Love-Follies-Begins-City-Center-Encores-Run-Feb-8 |date=June 4, 2011 }}. ''Playbill'', February 8, 2007</ref> This production used the original text, and the "Loveland" lyrics performed in the 1987 London production.<ref>Gluck, Victor. [http://www.theaterscene.net/ts%5Carticles.nsf/(AlphaE)/165317CBDBAC3C888525728200717D7D?OpenDocument "Encores! 'Follies{{'"}}] {{webarchive|url=https://web.archive.org/web/20110822101858/http://www.theaterscene.net/ts/articles.nsf/%28AlphaE%29/165317CBDBAC3C888525728200717D7D?OpenDocument |date=August 22, 2011 }}. theaterscene.net, February 13, 2007</ref> | ||
===2011 Kennedy Center and Broadway=== | ===2011 Kennedy Center and Broadway=== | ||
The [[Kennedy Center for the Performing Arts]] production at the [[Eisenhower Theater]] started previews on May 7, 2011, with an official opening on May 21, and closed on June 19, 2011.<ref name=close>Gans, Andrew.[http://www.playbill.com/news/article/151962-Broadway-Bound-Follies-Plays-Final-Performance-at-Kennedy-Center-June-19 "Broadway-Bound 'Follies' Plays Final Performance at Kennedy Center June 19"] {{webarchive|url=https://web.archive.org/web/20110621031034/http://www.playbill.com/news/article/151962-Broadway-Bound-Follies-Plays-Final-Performance-at-Kennedy-Center-June-19 |date=June 21, 2011 }}, ''Playbill'', June 19, 2011</ref> The cast starred Bernadette Peters as Sally, [[Jan Maxwell]] as Phyllis, [[Elaine Paige]] as Carlotta, [[Linda Lavin]] as Hattie, [[Ron Raines]] as Ben and [[Danny Burstein]] as Buddy. The production was directed by [[Eric D. Schaeffer|Eric Schaeffer]], with choreography by [[Warren Carlyle]], costumes by [[Gregg Barnes]], set by [[Derek McLane]] and lighting by [[Natasha Katz]].<ref>Gans, Andrew. [http://www.playbill.com/news/article/147689-Casting-Complete-for-Kennedy-Center-Follies-Young-Counterparts-Announced "Casting Complete for Kennedy Center 'Follies'; "Young" Counterparts Announced"] {{webarchive|url=https://web.archive.org/web/20110218164741/http://www.playbill.com/news/article/147689-Casting-Complete-for-Kennedy-Center-Follies-Young-Counterparts-Announced |date=February 18, 2011 }}. ''Playbill'', February 15, 2011</ref> Also featured were [[Rosalind Elias]] as Heidi, [[Régine Zylberberg|Régine]] as Solange, [[Susan Watson]] as Emily, and [[Terri White]] as Stella. The budget was reported to be $7.3 million.<ref name=BWWRoundup>[http://broadwayworld.com/article/Review-Roundup-FOLLIES-at-the-Kennedy-Center-UPDATED-20110602 "Review Roundup: ''Follies'' at the Kennedy Center"]. BroadwayWorld.com, June 2, 2011</ref><ref name=close/> The production played to 95% capacity.<ref>Marks, Peter. [https://www.washingtonpost.com/lifestyle/style/kennedy-centers-follies-is-broadway-bound/2011/06/15/AGlyGNWH_story.html "Kennedy Centers Follies is Broadway Bound"]. ''Washington Post'', June 15, 2011</ref> | The [[Kennedy Center for the Performing Arts]] production at the [[Eisenhower Theater]] started previews on May 7, 2011, with an official opening on May 21, and closed on June 19, 2011.<ref name=close>Gans, Andrew.[http://www.playbill.com/news/article/151962-Broadway-Bound-Follies-Plays-Final-Performance-at-Kennedy-Center-June-19 "Broadway-Bound 'Follies' Plays Final Performance at Kennedy Center June 19"] {{webarchive|url=https://web.archive.org/web/20110621031034/http://www.playbill.com/news/article/151962-Broadway-Bound-Follies-Plays-Final-Performance-at-Kennedy-Center-June-19 |date=June 21, 2011 }}, ''Playbill'', June 19, 2011</ref> The cast starred Bernadette Peters as Sally, [[Jan Maxwell]] as Phyllis, [[Elaine Paige]] as Carlotta, [[Linda Lavin]] as Hattie, [[Ron Raines]] as Ben and [[Danny Burstein]] as Buddy. The production was directed by [[Eric D. Schaeffer|Eric Schaeffer]], with choreography by [[Warren Carlyle]], costumes by [[Gregg Barnes]], set by [[Derek McLane]] and lighting by [[Natasha Katz]].<ref>Gans, Andrew. [http://www.playbill.com/news/article/147689-Casting-Complete-for-Kennedy-Center-Follies-Young-Counterparts-Announced "Casting Complete for Kennedy Center 'Follies'; "Young" Counterparts Announced"] {{webarchive|url=https://web.archive.org/web/20110218164741/http://www.playbill.com/news/article/147689-Casting-Complete-for-Kennedy-Center-Follies-Young-Counterparts-Announced |date=February 18, 2011 }}. ''Playbill'', February 15, 2011</ref> Also featured were [[Rosalind Elias]] as Heidi, [[Régine Zylberberg|Régine]] as Solange, [[Susan Watson]] as Emily, and [[Terri White]] as Stella. The budget was reported to be $7.3 million.<ref name=BWWRoundup>[http://broadwayworld.com/article/Review-Roundup-FOLLIES-at-the-Kennedy-Center-UPDATED-20110602 "Review Roundup: ''Follies'' at the Kennedy Center"]. BroadwayWorld.com, June 2, 2011</ref><ref name=close/> The production played to 95% capacity.<ref>Marks, Peter. [https://www.washingtonpost.com/lifestyle/style/kennedy-centers-follies-is-broadway-bound/2011/06/15/AGlyGNWH_story.html "Kennedy Centers Follies is Broadway Bound"]. ''Washington Post'', June 15, 2011</ref> | ||
Reviews were mixed, with [[Ben Brantley]] of ''The New York Times'' writing "It wasn't until the second act that I fell in love all over again with ''Follies''". Peter Marks of ''[[The Washington Post]]'' wrote that the revival "takes an audience halfway to paradise." He praised a "broodingly luminous Jan Maxwell" and Burstein's "hapless onetime [[stage-door Johnny]]", as well as "the show's final 20 minutes, when we ascend with the main characters into an ironic vaudeville dreamscape of assorted neuroses | Reviews were mixed, with [[Ben Brantley]] of ''The New York Times'' writing "It wasn't until the second act that I fell in love all over again with ''Follies''". [[Peter Marks (journalist)|Peter Marks]] of ''[[The Washington Post]]'' wrote that the revival "takes an audience halfway to paradise." He praised a "broodingly luminous Jan Maxwell" and Burstein's "hapless onetime [[stage-door Johnny]]", as well as "the show's final 20 minutes, when we ascend with the main characters into an ironic vaudeville dreamscape of assorted neuroses – the most intoxicating articulation of the musical's 'Loveland' sequence that I've ever seen." ''Variety'' gave a very favorable review to the "lavish and entirely satisfying production", saying that Schaeffer directs "in methodical fashion, building progressively to a crescendo exactly as Sondheim does with so many of his stirring melodies. Several show-stopping routines are provided by choreographer Warren Carlyle." [[Terry Teachout]] of ''[[The Wall Street Journal]]'' noted that "One of the signal achievements of this ''Follies'' is that it succeeds in untangling each and every strand of the show's knotty plot ... Mr. Schaeffer is clearly unafraid of the darkness of ''Follies'', so much so that the first act is bitter enough to sting. Yet he and Warren Carlyle ... just as clearly revel in the richness of the knowing pastiche songs with which Mr. Sondheim evokes the popular music of the prerock era."<ref name=BWWRoundup/><ref>Lipton, Brian Scott. [http://www.theatermania.com/new-york/news/05-2011/follies_37429.html ''Follies'']. Theatre Mania, May 22, 2011</ref> | ||
The production transferred to Broadway at the [[Marquis Theatre]] in a limited engagement starting previews on August 7, 2011, with the official opening on September 12, and closing on January 22, 2012, after 151 performances and 38 previews.<ref>{{cite web |last=Gans |first=Andrew |title=Hey, L.A., We're Coming Your Way: 'Follies' Ends Broadway Run Jan. 22 |work=Playbill |date=January 22, 2012 |url=http://www.playbill.com/news/article/158790-Hey-LA-Were-Coming-Your-Way-Follies-Ends-Broadway-Run-Jan-22 |access-date=January 22, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120124022306/http://www.playbill.com/news/article/158790-Hey-LA-Were-Coming-Your-Way-Follies-Ends-Broadway-Run-Jan-22 |archive-date=January 24, 2012 }}</ref> The four principal performers reprised their roles, as well as Paige as Carlotta. [[Jayne Houdyshell]] as Hattie, [[Mary Beth Peil]] as Solange LaFitte, and [[Don Correia]] as Theodore joined the Broadway cast.<ref>Gans, Andrew. [http://www.playbill.com/news/article/153410-The-Right-Girls-Kennedy-Center-Follies-With-Bernadette-Peters-Jan-Maxwell-Elaine-Paige-Begins-Broadway-Previews "The Right Girls: Kennedy Center Follies, With Bernadette Peters, Jan Maxwell, Elaine Paige, Begins Broadway Previews"] {{webarchive|url=https://web.archive.org/web/20110915024925/http://www.playbill.com/news/article/153410-The-Right-Girls-Kennedy-Center-Follies-With-Bernadette-Peters-Jan-Maxwell-Elaine-Paige-Begins-Broadway-Previews |date=September 15, 2011 }}, ''Playbill'', August 7, 2011</ref> A two-disc cast album of this production was recorded by [[PS Classics]] and was released on November 29, 2011.<ref name=folliesrecording>Gans, Andrew and Jones, Kenneth.[https://archive.today/20130131113751/http://www.playbill.com/news/article/156994-Two-Disc-Follies-Revival-Recording-Is-Big-Seller "Two-Disc 'Follies' Revival Recording Is Big Seller"] ''Playbill'', November 28, 2011</ref> | The production transferred to Broadway at the [[Marquis Theatre]] in a limited engagement starting previews on August 7, 2011, with the official opening on September 12, and closing on January 22, 2012, after 151 performances and 38 previews.<ref>{{cite web |last=Gans |first=Andrew |title=Hey, L.A., We're Coming Your Way: 'Follies' Ends Broadway Run Jan. 22 |work=Playbill |date=January 22, 2012 |url=http://www.playbill.com/news/article/158790-Hey-LA-Were-Coming-Your-Way-Follies-Ends-Broadway-Run-Jan-22 |access-date=January 22, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120124022306/http://www.playbill.com/news/article/158790-Hey-LA-Were-Coming-Your-Way-Follies-Ends-Broadway-Run-Jan-22 |archive-date=January 24, 2012 }}</ref> The four principal performers reprised their roles, as well as Paige as Carlotta. [[Jayne Houdyshell]] as Hattie, [[Mary Beth Peil]] as Solange LaFitte, and [[Don Correia]] as Theodore joined the Broadway cast.<ref>Gans, Andrew. [http://www.playbill.com/news/article/153410-The-Right-Girls-Kennedy-Center-Follies-With-Bernadette-Peters-Jan-Maxwell-Elaine-Paige-Begins-Broadway-Previews "The Right Girls: Kennedy Center Follies, With Bernadette Peters, Jan Maxwell, Elaine Paige, Begins Broadway Previews"] {{webarchive|url=https://web.archive.org/web/20110915024925/http://www.playbill.com/news/article/153410-The-Right-Girls-Kennedy-Center-Follies-With-Bernadette-Peters-Jan-Maxwell-Elaine-Paige-Begins-Broadway-Previews |date=September 15, 2011 }}, ''Playbill'', August 7, 2011</ref> A two-disc cast album of this production was recorded by [[PS Classics]] and was released on November 29, 2011.<ref name=folliesrecording>Gans, Andrew and Jones, Kenneth.[https://archive.today/20130131113751/http://www.playbill.com/news/article/156994-Two-Disc-Follies-Revival-Recording-Is-Big-Seller "Two-Disc 'Follies' Revival Recording Is Big Seller"] ''Playbill'', November 28, 2011</ref> | ||
Brantley reviewed the Broadway revival for ''The New York Times'', writing: "Somewhere along the road from Washington to Broadway, the Kennedy Center production of ''Follies'' picked up a pulse ... I am happy to report that since then, Ms Peters has connected with her inner frump, Mr. Raines has found the brittle skeleton within his solid flesh, and Ms. Maxwell and Mr. Burstein have only improved. Two new additions to the cast, Jayne Houdyshell and Mary Beth Peil, are terrific. This production has taken on the glint of crystalline sharpness."<ref>Brantley, Ben. [http://theater.nytimes.com/2011/09/13/theater/reviews/follies-on-broadway-review.html?pagewanted=1 "Theater Review. 'Follies'. Darkness Around the Spotlight"], ''The New York Times'', September 12, 2011</ref> The production's run was extended, and its grosses exceeded expectations, but it did not recoup its investment.<ref>Hetrick, Adam. [http://www.playbill.com/news/article/158938-Good-Times-and-Bum-Times-Broadway-Revival-of-Follies-Exceeds-Expectations-But-Doesnt-Recoup " 'Good Times and Bum Times': Broadway Revival of 'Follies' Exceeds Expectations, But Doesn't Recoup"] {{webarchive|url=https://web.archive.org/web/20120127033606/http://www.playbill.com/news/article/158938-Good-Times-and-Bum-Times-Broadway-Revival-of-Follies-Exceeds-Expectations-But-Doesnt-Recoup |date=January 27, 2012 }}, ''Playbill'', January 24, 2012</ref> | Brantley reviewed the Broadway revival for ''The New York Times'', writing: "Somewhere along the road from Washington to Broadway, the Kennedy Center production of ''Follies'' picked up a pulse ... I am happy to report that since then, Ms. Peters has connected with her inner frump, Mr. Raines has found the brittle skeleton within his solid flesh, and Ms. Maxwell and Mr. Burstein have only improved. Two new additions to the cast, Jayne Houdyshell and Mary Beth Peil, are terrific. This production has taken on the glint of crystalline sharpness."<ref>Brantley, Ben. [http://theater.nytimes.com/2011/09/13/theater/reviews/follies-on-broadway-review.html?pagewanted=1 "Theater Review. 'Follies'. Darkness Around the Spotlight"], ''The New York Times'', September 12, 2011</ref> The production's run was extended, and its grosses exceeded expectations, but it did not recoup its investment.<ref>Hetrick, Adam. [http://www.playbill.com/news/article/158938-Good-Times-and-Bum-Times-Broadway-Revival-of-Follies-Exceeds-Expectations-But-Doesnt-Recoup " 'Good Times and Bum Times': Broadway Revival of 'Follies' Exceeds Expectations, But Doesn't Recoup"] {{webarchive|url=https://web.archive.org/web/20120127033606/http://www.playbill.com/news/article/158938-Good-Times-and-Bum-Times-Broadway-Revival-of-Follies-Exceeds-Expectations-But-Doesnt-Recoup |date=January 27, 2012 }}, ''Playbill'', January 24, 2012</ref> | ||
The Broadway production won the [[Drama League Award]], Distinguished Production of a Musical Revival for | The Broadway production won the [[Drama League Awards|Drama League Award]], Distinguished Production of a Musical Revival for 2011–2012<ref>Gans, Andrew. [http://www.playbill.com/news/article/166101-Other-Desert-Cities-Salesman-Follies-Once-Audra-McDonald-Are-Drama-League-Winners {{"'}}Other Desert Cities', 'Salesman', 'Follies', 'Once', Audra McDonald Are Drama League Winners"] {{webarchive|url=https://web.archive.org/web/20120520080117/http://www.playbill.com/news/article/166101-Other-Desert-Cities-Salesman-Follies-Once-Audra-McDonald-Are-Drama-League-Winners |date=May 20, 2012 }}, ''Playbill'', May 18, 2012</ref> and the [[Drama Desk Award]] for Outstanding Revival of a Musical, Outstanding Actor in a Musical (Burstein) and Outstanding Costume Design (Barnes).<ref>Gans, Andrew. [http://www.playbill.com/news/article/166621-Once-Tribes-Follies-Salesman-Audra-McDonald-Danny-Burstein-and-More-Are-Drama-Desk-Winners {{"'}}Once', 'Tribes', 'Follies', 'Salesman', Audra McDonald, Danny Burstein and More Are Drama Desk Winners"] {{webarchive |url=https://web.archive.org/web/20120606195208/http://www.playbill.com/news/article/166621-Once-Tribes-Follies-Salesman-Audra-McDonald-Danny-Burstein-and-More-Are-Drama-Desk-Winners |date=June 6, 2012 }}, ''Playbill'', June 3, 2012</ref> Out of seven [[Tony Awards|Tony Award]] nominations, including [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]], it won only one, with Barnes awarded [[Tony Award for Best Costume Design in a Musical|Best Costume Design in a Musical]] at the [[66th Tony Awards]].<ref>Jones, Kenneth. [https://archive.today/20121210193815/http://www.playbill.com/news/article/166897-Once-Clybourne-Park-Porgy-and-Bess-Audra-McDonald-Salesman-Win-Tony-Awards {{"'}}Once', 'Clybourne Park', 'Porgy and Bess', Audra McDonald, 'Salesman' Win Tony Awards"], ''Playbill'', June 10, 2012</ref> | ||
===2012 Los Angeles=== | ===2012 Los Angeles=== | ||
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===2017 London revival=== | ===2017 London revival=== | ||
A London revival was performed in the Olivier Theatre at the [[Royal National Theatre|National Theatre]] (August 22 until November 4, 2017 | A London revival was performed in the Olivier Theatre at the [[Royal National Theatre|National Theatre]] (August 22 until November 4, 2017 – later extended to January 3, 2018, as extensions are common practice at the National Theatre). The production was directed by [[Dominic Cooke]], choreographed by Bill Deamer and starred [[Peter Forbes (actor)|Peter Forbes]] as Buddy, [[Imelda Staunton]] as Sally, [[Janie Dee]] as Phyllis, [[Philip Quast]] as Ben<ref>{{Cite web|url=http://www.playbill.com/article/imelda-staunton-to-star-in-london-follies|title=Imelda Staunton to Star in London Follies |website=Playbill|date=September 30, 2016|access-date=September 30, 2016}}</ref><ref>{{Cite web| url=http://www.playbill.com/article/national-theatre-announces-further-plans-for-2017-and-additonal-casting-for-angels-in-america-and-follies#| title=National Theatre Announces Additional Casting for Angels in America and Follies|last=Shenton |first= Mark| date=October 11, 2016| website=Playbill}}</ref> and [[Tracie Bennett]] as Carlotta.<ref name="Desk">{{Cite news|url=http://www.broadwayworld.com/westend/article/Full-Casting-Announced-for-FOLLIES-at-National-Theatre-20170609|title=Full Casting Announced for Follies at National Theatre|author=BWW News Desk|work=BroadwayWorld.com|access-date=June 12, 2017|language=en}}</ref> This production notably goes back to the original plan of a one-act performance. The production was broadcast live to cinemas worldwide on November 16 through the [[National Theatre Live]] program.<ref>{{Cite news|url=https://www.broadwayworld.com/westend/article/National-Theatre-Live-to-Broadcast-FOLLIES-this-November-20170707|title=National Theatre Live to Broadcast Follies this November|date=July 7, 2017|work=BroadwayWorld.com|access-date=October 4, 2017|language=en}}</ref> | ||
The production returned to the Olivier Theatre on February 14, 2019, playing until May 11. [[Janie Dee]] and [[Peter Forbes (actor)|Peter Forbes]] returned as Phyllis and Buddy, while [[Joanna Riding]] and [[Alexander Hanson (actor)|Alexander Hanson]] replaced Staunton and Quast as Sally and Ben. Bennett also reprised her Olivier-nominated performance. A recording of the National Theatre production was released on January 18, 2019.<ref>{{cite web |title=Follies cast recording released on Spotify and iTunes |url=https://www.whatsonstage.com/london-theatre/news/follies-cast-recording-spotify-national_48338.html |website=What's On Stage |date=January 18, 2019 |access-date=January 18, 2019}}</ref> | The production returned to the Olivier Theatre on February 14, 2019, playing until May 11. [[Janie Dee]] and [[Peter Forbes (actor)|Peter Forbes]] returned as Phyllis and Buddy, while [[Joanna Riding]] and [[Alexander Hanson (actor)|Alexander Hanson]] replaced Staunton and Quast as Sally and Ben. Bennett also reprised her Olivier-nominated performance. A recording of the National Theatre production was released on January 18, 2019.<ref>{{cite web |title=Follies cast recording released on Spotify and iTunes |url=https://www.whatsonstage.com/london-theatre/news/follies-cast-recording-spotify-national_48338.html |website=What's On Stage |date=January 18, 2019 |access-date=January 18, 2019}}</ref> | ||
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===2024 Carnegie Hall concert=== | ===2024 Carnegie Hall concert=== | ||
On 20 June 2024, a concert version of ''Follies'' at [[Carnegie Hall]] was staged and directed by Jack Cummings III and music directed by Joey Chancey. The evening was hosted by Ted Chapin and original cast member Kurt Peterson. The cast included [[Kate Baldwin]], [[Julie Benko]], Mikaela Bennett, [[Michael Berresse]], [[Alexandra Billings]], [[Klea Blackhurst]], Lauren Blackman, [[Harolyn Blackwell]], [[Stephen Bogardus]], Julianna Brown, Hal Linden, [[Carolee Carmello]], Jim Caruso, Jessica Chambers, Nikki Renée Daniels, Mamie Duncan-Gibbs, [[Christine Ebersole]], [[Hannah Elless]], [[Katie Finneran]], [[Santino Fontana]], [[Alexander Gemignani]], Christian Mark Gibbs, Miguel Gil, Ruth Gottschall, Olivia Elease Hardy, [[Grey Henson]], Fernell Hogan, [[Jennifer Holliday]], JoAnn M. Hunter, Candice Katakeyama, [[Isabel Keating]], [[Marc Kudisch]], [[Beth Leavel]], [[Adriane Lenox]], [[Norm Lewis]], Alicia Lundgren, Abby Matsusaka, [[Ryan McCartan]], Dana Moore, Erin N. Moore, [[Michele Pawk]], [[Margo Sappington]], Thom Sesma, [[Barbara Walsh]], Nina White, Jacob Keith Watson, and [[Karen Ziemba]].<ref>{{Cite web |title=All Star Concert of Follies Plays Carnegie Hall June 20 |url=https://playbill.com/article/all-star-concert-of-follies-plays-carnegie-hall-june-20 |access-date=November 26, 2024 |website=Playbill}}</ref> | On 20 June 2024, a concert version of ''Follies'' at [[Carnegie Hall]] was staged and directed by Jack Cummings III and music directed by Joey Chancey. The evening was hosted by Ted Chapin and original cast member Kurt Peterson. The cast included [[Kate Baldwin]], [[Julie Benko]], Mikaela Bennett, [[Michael Berresse]], [[Alexandra Billings]], [[Klea Blackhurst]], Lauren Blackman, [[Harolyn Blackwell]], [[Stephen Bogardus]], Julianna Brown, Hal Linden, [[Carolee Carmello]], Jim Caruso, Jessica Chambers, [[Nikki Renée Daniels]], Mamie Duncan-Gibbs, [[Christine Ebersole]], [[Hannah Elless]], [[Katie Finneran]], [[Santino Fontana]], [[Alexander Gemignani]], Christian Mark Gibbs, Miguel Gil, Ruth Gottschall, Olivia Elease Hardy, [[Grey Henson]], Fernell Hogan, [[Jennifer Holliday]], JoAnn M. Hunter, Candice Katakeyama, [[Isabel Keating]], [[Marc Kudisch]], [[Beth Leavel]], [[Adriane Lenox]], [[Norm Lewis]], Alicia Lundgren, Abby Matsusaka, [[Ryan McCartan]], Dana Moore, Erin N. Moore, [[Michele Pawk]], [[Margo Sappington]], Thom Sesma, [[Barbara Walsh]], Nina White, Jacob Keith Watson, and [[Karen Ziemba]].<ref>{{Cite web |title=All Star Concert of Follies Plays Carnegie Hall June 20 |url=https://playbill.com/article/all-star-concert-of-follies-plays-carnegie-hall-june-20 |access-date=November 26, 2024 |website=Playbill}}</ref> | ||
==Casts and characters== | ==Casts and characters== | ||
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! Broadway Revival<br />(2011)<ref>{{cite web|author=l|url=https://www.ibdb.com/broadway-production/follies-490537|title=Follies 2011|work=[[Internet Broadway Database]]|date=November 25, 2016}}</ref> | ! Broadway Revival<br />(2011)<ref>{{cite web|author=l|url=https://www.ibdb.com/broadway-production/follies-490537|title=Follies 2011|work=[[Internet Broadway Database]]|date=November 25, 2016}}</ref> | ||
! Royal Albert Hall<br />(2015)<ref>{{cite web|author=l|url=http://ovrtur.com/production/2902433/credits|title=Follies 2015|work=[[Ovrtur]]|date=February 3, 2017}}</ref> | ! Royal Albert Hall<br />(2015)<ref>{{cite web|author=l|url=http://ovrtur.com/production/2902433/credits|title=Follies 2015|work=[[Ovrtur]]|date=February 3, 2017}}</ref> | ||
! Australian Concert<br />(2016)<ref>{{Cite web |url=https://www.melbournerecital.com.au/events/2016/follies-in-concert/ |title=Follies in Concert | ! Australian Concert<br />(2016)<ref>{{Cite web |url=https://www.melbournerecital.com.au/events/2016/follies-in-concert/ |title=Follies in Concert – Melbourne Recital Centre |access-date=March 21, 2018 |archive-url=https://web.archive.org/web/20180403123809/https://www.melbournerecital.com.au/events/2016/follies-in-concert/ |archive-date=April 3, 2018 |url-status=dead }}</ref> | ||
!London Revival<br />(2017)<ref name="Desk"/> | !London Revival<br />(2017)<ref name="Desk"/> | ||
!London Revival | !London Revival | ||
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|colspan='1' align=center| Amy Ellen Richardson | |colspan='1' align=center| Amy Ellen Richardson | ||
|colspan='1' align=center|[[Sophie Wright (actress)|Sophie Wright]] | |colspan='1' align=center|[[Sophie Wright (actress)|Sophie Wright]] | ||
|colspan='1' align=center| Alex Young | |colspan='1' align=center| [[Alex Young (actor)|Alex Young]] | ||
|colspan='1' align=center| Gemma Sutton | |colspan='1' align=center| Gemma Sutton | ||
|- | |- | ||
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|- | |- | ||
| rowspan="8" align="center"| 1971 | | rowspan="8" align="center"| 1971 | ||
| rowspan="7"| [[Drama Desk | | rowspan="7"| [[Drama Desk Awards]] | ||
| [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]] | | [[Drama Desk Award for Outstanding Choreography|Outstanding Choreography]] | ||
| [[Michael Bennett (theater)|Michael Bennett]] | | [[Michael Bennett (theater)|Michael Bennett]] | ||
| Line 518: | Line 518: | ||
| {{won}} | | {{won}} | ||
|- | |- | ||
| [[New York Drama Critics' Circle|New York Drama Critics' Circle | | [[New York Drama Critics' Circle|New York Drama Critics' Circle Awards]]<ref>{{Cite web |title=New York Drama Critics' Circle Awards Past Winners|url=https://www.dramacritics.org/dc_pastawards.html |access-date=31 January 2025 |website=New York Drama Critics' Circle|language=en}}</ref> | ||
| Best Musical | | Best Musical | ||
| Stephen Sondheim and | | Stephen Sondheim and [[James Goldman]] | ||
| {{won}} | | {{won}} | ||
|- | |- | ||
| rowspan="11"| 1972 | | rowspan="11"| 1972 | ||
| rowspan="11"| [[26th Tony Awards|Tony | | rowspan="11"| [[26th Tony Awards|Tony Awards]] | ||
| colspan="2"| [[Tony Award for Best Musical|Best Musical]] | | colspan="2"| [[Tony Award for Best Musical|Best Musical]] | ||
| {{nom}} | | {{nom}} | ||
| Line 533: | Line 533: | ||
|- | |- | ||
| [[Tony Award for Best Book of a Musical|Best Book of a Musical]] | | [[Tony Award for Best Book of a Musical|Best Book of a Musical]] | ||
| | | James Goldman | ||
| {{nom}} | | {{nom}} | ||
|- | |- | ||
| Line 578: | Line 578: | ||
|- | |- | ||
| rowspan="2" align="center"| 1987 | | rowspan="2" align="center"| 1987 | ||
| rowspan="2"| [[Laurence Olivier | | rowspan="2"| [[Laurence Olivier Awards]]<ref>[http://www.officiallondontheatre.co.uk/olivier_awards/past_winners/view/item98522/Olivier-Winners-1987/ "Olivier Winners 1987] {{Webarchive|url=https://web.archive.org/web/20101128025317/http://officiallondontheatre.co.uk/olivier_awards/past_winners/view/item98522/Olivier-Winners-1987/ |date=November 28, 2010 }} officiallondontheatre.co.uk. Retrieved August 29, 2010.</ref> | ||
| colspan="2"| [[Laurence Olivier Award|Musical of the Year]] | | colspan="2"| [[Laurence Olivier Award|Musical of the Year]] | ||
| {{won}} | | {{won}} | ||
| Line 597: | Line 597: | ||
|- | |- | ||
| rowspan="10" align="center"| 2001 | | rowspan="10" align="center"| 2001 | ||
| rowspan="5"| [[55th Tony Awards|Tony | | rowspan="5"| [[55th Tony Awards|Tony Awards]] | ||
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] | | colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] | ||
| {{nom}} | | {{nom}} | ||
| Line 617: | Line 617: | ||
| {{nom}} | | {{nom}} | ||
|- | |- | ||
| rowspan="3"| [[Drama Desk | | rowspan="3"| [[Drama Desk Awards]] | ||
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]] | | colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]] | ||
| {{nom}} | | {{nom}} | ||
| Line 641: | Line 641: | ||
|- | |- | ||
| rowspan="24" align="center"| 2012 | | rowspan="24" align="center"| 2012 | ||
| rowspan="8"| [[66th Tony Awards|Tony | | rowspan="8"| [[66th Tony Awards|Tony Awards]] | ||
| colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] | | colspan="2"| [[Tony Award for Best Revival of a Musical|Best Revival of a Musical]] | ||
| {{nom}} | | {{nom}} | ||
| Line 672: | Line 672: | ||
| {{nom}} | | {{nom}} | ||
|- | |- | ||
| rowspan="10"| [[Drama Desk | | rowspan="10"| [[Drama Desk Awards]] | ||
| colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]] | | colspan="2"| [[Drama Desk Award for Outstanding Revival of a Musical|Outstanding Revival of a Musical]] | ||
| {{won}} | | {{won}} | ||
| Line 735: | Line 735: | ||
|{{won}} | |{{won}} | ||
|- | |- | ||
| rowspan="3" | [[Evening Standard Theatre Awards|Evening Standard Theatre | | rowspan="3" | [[Evening Standard Theatre Awards|Evening Standard Theatre Awards]]<ref>Dex, Robert. [https://www.standard.co.uk/goingout/theatre/evening-standard-theatre-awards-2017-the-shortlist-a3693831.html "Standard Theatre Awards 2017 the Shortlist"] ''Evening Standard'', retrieved November 18, 2017</ref><ref>{{Cite web|last=Thompson|first=Jessie|date=December 4, 2017|title=These are the winners of the 2017 Evening Standard Theatre Awards|url=https://www.standard.co.uk/culture/theatre/evening-standard-theatre-awards-2017-the-ferryman-scoops-three-gongs-as-andrew-garfield-takes-home-best-actor-a3708021.html|access-date=March 30, 2021|website=www.standard.co.uk|language=en}}</ref> | ||
| colspan="2" |[[Evening Standard Theatre Awards#Best Musical|Best Musical]] | | colspan="2" |[[Evening Standard Theatre Awards#Best Musical|Best Musical]] | ||
| {{nom}} | | {{nom}} | ||
| Line 748: | Line 748: | ||
|- | |- | ||
| rowspan="10" align="center"| 2018 | | rowspan="10" align="center"| 2018 | ||
| rowspan="10" |[[2018 Laurence Olivier Awards|Laurence Olivier | | rowspan="10" |[[2018 Laurence Olivier Awards|Laurence Olivier Awards]]<ref>{{Cite news|date=April 8, 2018|title=Olivier Awards 2018: Winners in full|language=en-GB|work=BBC News|url=https://www.bbc.com/news/entertainment-arts-43668013|access-date=March 30, 2021}}</ref> | ||
| colspan="2" |[[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]] | | colspan="2" |[[Laurence Olivier Award for Best Musical Revival|Best Musical Revival]] | ||
| {{won}} | | {{won}} | ||