It was an uninspired production. Danner and Ivey were fairly good and Bergen stopped the show with "I'm Still Here" but the set was dull, the costumes were obviously done on a budget and the direction was bland.
I wish they had been able to transfer the Paper Mill version to Broadway. I remember the whole drama around it; something to do with rights or agreements or something.
I am grateful the recording of the PMP exists.
"My dreams, watching me said, one to the other...this life has let us down."
It didn't run longer because it was simply too expensive to have a run on Broadway (even though many complained the Roundabout production looked cheap). The size of the cast and the elaborate costumes and sets it requires means the show will never be financially successful on Broadway (plus it's not exactly a big crowd pleaser due to the book's attitude towards marriage which is rather pessimistic). Once they ran out of subscribers and had to switch from the LORT A contract Roundabout works under for the initial part of any Broadway run (12 weeks) to the Standard Production Agreement, it couldn't sustain itself any longer (losing LOTS of money weekly) and had to close.
There were some excellent performances and I enjoyed it much of it. I was underwhelmed by the choreography of "Who's That Woman" and "The Right Girl," but the solo numbers from Bergen, Ivey, Joan Roberts, Jane White and a few others were terrific. I recall at the time, most of those who had seen the original Michael Bennett/Hal Prince production really detested this one (some found it drab-looking and badly staged), but without that point of reference I really enjoyed it.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
And yes, the Papermill production was superior and should have transferred, despite all of the drama behind the scenes.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
No. There could be an orchestra on stage...but I wouldn't have actors playing the instruments. The orchestra would work on stage, the show taking place at a party and all.
I think it would work in the vein like CHICAGO operates.
If CHICAGO were a full blown production with huge sets and lavish costumes...it would have closed a LONG time ago.
"I love talking about nothing. It is the only thing I know anything about." - Oscar Wilde
I was very disappointed in the revival. The production failed, I think, mostly because of the casting of the four leads. Each one of them was inadequate in their own way--Ms. Ivey and Ms. Danner in their singing, Mr. Harrison and Mr. Williams in almost everything (Williams was also just plain wrong for the role). It's a great score and an inspired story--I'd love to see the show again under better circumstances.
I don't know the whole story...I'm sure Margo can fill you in better than I can. I only remember snippets of rumors about the widow of someone not allowing the show to open on Broadway.
"My dreams, watching me said, one to the other...this life has let us down."
I saw the 2001 production. It was the first time I had seen the show, so I went in with a very open mind. I really enjoyed the show, but it is not my favortie Sondheim piece. I appreciated it, but found it to be very dated. Great performances, and it was overall a very enjoyable evening.
I saw the 2001 revival. Blythe Danner was excellent as Phyllis and Judith Ivey was quite good as Sally. The men were all wrong, though. And, as was said before, it was a totally uninspired production.
I would love to see the production that I saw this past summer at BSC on Broadway one day.
The Papermill production was one of the best things I've ever seen performed on a stage. The 2001 revival, while definately not perfect, I didn't find nearly as bad as some. It's such a tough show to stage. Either the production clicks or it doesn't. I really don't think there's any middle ground with it.
But I agree with whoever said that it will never have a successful run. It's one of the most famous, well respected shows in history that will never really find an audience.
I agree completely with MEF. The male leads were weak but the women - ALL of them - were incredible.
I went to the show on a friend's recommendation. I was not a Sondheim fan (you can line up with the stones and rotten tomatoes now) and I really didn't want to spend my one night in NY going to a Sondheim musical that I knew nothing about. But he encouraged me and I was absolutely mesmerized. I've been haunted by it since. The music, the sets, the story, the ghosts, all of it. It might not have been as good as other productions but I didn't see those others and for me it was great.
(And it did turn me into a Sondheim fan. I even bought a subscription for the whole Sondheim festival at the Kennedy Center. So put the rocks and tomatoes down.)
www.thebreastcancersite.com
A click for life.
mamie4 5/14/03
Glebbie--I thought you and I would never part ways, but the time has come.
The London Follies was that magic moment for me. From the moment I saw those ghosts parading around on the upper tiers of the stage in that eerie light (were they behind a scrim? In my mind they are sepia-toned) I was absolutely hooked, and by the end of the show I was devastated. I went to Roundabout looking to re-create that moment and....nothing. Now, I know you can only lose your virginity once (well, perhaps twice, depending on how you count...) but I felt none of the magic from Roundabout.
"They have never understood, and no reason that they should.
But if anybody could . . . " --SS
Sorry bta212. London with all of it's money and Julia, Delores and even Diana just didn't click for me. I liked Act I much better than Act II. Roundabout held such subtle beauty all the way through for me. It was how I envisioned it after so many years of only listening (before London).
Don't let this get in the way of our love.
" ...the happiness in the tune convinces me that I'm not afraid."
Disagreeing about a favorite production of "Follies"? That doesn't get in the way of our love, honey, that makes me want to choose a china pattern. Anyone who cares enough to fight about Sondheim moves to the head of the line...
Oh, and you are SO wrong about Roundabout. (But Act I was superior to Act II.)
"They have never understood, and no reason that they should.
But if anybody could . . . " --SS