Follies, the musical

Broadway 1971. We are witnesses of a reunion of old singers and dancers who perform Weismann's Follies before the venue get demolished. Follies is a musical with music and lyrics by Stephen Sondheim and a book by James Goldman. Behind this National Theatre production is Dominic Cooke.

This final party turns out to be a moment to remember a common past and also to deal with some old relationships that are not over yet. Even if it looks like an old-fashioned musical, Cooke presents something very modern on the Olivier stage. I have never seen the play before but I found it very interesting how the young characters follow their older versions. The dualism between the past and the present can be observed in the changes of lighting, the different hairstyles and changes in fashion but mostly in the set, in the symbolism of two brick walls, one half in ruins and the other still shining. The rotation that dissects the circular space and prepares us for the ambivalence of the history we are going to see is highly effective.

The play, rather than drawing attention by action, probes a complex situation between two couples attending the celebration: Sally (Imelda Stauton) and Buddy (Peter Forbes), and Phyllis (Janie Dee) and Ben (Philip Quast). As a good classic musical you will enjoy it. The hard work behind the great songs is impeccably executed by the extended cast. The brilliant tight tap dancing choreography is created by Bill Deamer. The vibrant rhythm of the live music is played at the back of the stage. However what is more attractive is how everything is done by two different versions of everyone on the stage. You get to know how truthful the characters are by seeing them taking decisions in the past (in 1940 when Follies was everything for them) which made them how they are now. The tour de force of the ghostly selves stalking and feeling their way about in the present is just unmissable. Flashbacks speak about tensions in the present. The play has some brilliant moments when the younger ones suffer when seeing the older ones not being brave enough to take the risk of being honest. On the other hand, you see how the older ones look at their impulsive younger selves with condescension and in other instances, with pride. It’s easy to empathise with the idea that each of us shows different versions of ourselves to others and that you can have different parts inside, and how important is to listen and learn from them.

Staunton's character Sally is a transcendent and authentic performance. It starts with her happy anxiety and nervous smiles to continue with marathon energy towards a despair that I don’t think anybody else could express better while singing “Losing my mind”. Maybe because I was seated in the first row, I could see how the actress was using “her stomach” to breathe in and support her voice. Also, the last song by Philip Quast, gave me goose bumps, at the instant when his gentle mask falls off and you can see his emptiness. He is so realistic that you don’t know if the actor forgot his lines or is it the character dealing with deep conflicts.

The most remarkable note is how intensely the drama that every character suffers was felt. You forgot the immense space where the actors were because of the naturalistic quality of their acting. I was astonished by the amount of work behind every scene. The actors’ speech and articulation, their active listening. Every detail transmitted professionalism, talent and faith in what they were doing. I thought that if I were part of the cast I would feel very proud of the work they do every night. For the amount of dedication and effort and the connection between them and the audience. Unforgettable.