title: Joe Harris (basketball)

text: In his senior year, Harris led his team to fifth place in the Class 1A state tournament after leading them to a 26–2 record. He averaged 26.6 points, 8.0 rebounds, 4.6 assists, 4.4 steals and 1.6 blocks a game, while shooting 59.2% from the field and 76.5% from the free throw line. He was named Washington Mr. Basketball by the Washington State Coaches Association, and named the Gatorade Washington Player of the Year. For the second straight year, Harris was named the AP Class 1A Player of the Year and selected to the Class 1A All-Tournament first team.


title: Joe Harris (basketball)

text: He finished off his high school career with 452 assists, 699 rebounds, 282 steals, and a Class 1A state record 2,399 points.


title: Joe Harris (basketball)

text: Harris was recruited by head coach Tony Bennett, while Bennett was the head coach at Washington State. When Bennett moved to Virginia, Harris switched his commitment to join him there.


title: Joe Harris (basketball)

text: In Harris’ collegiate debut for the Virginia Cavaliers, he recorded 2 points, 4 rebounds and 3 assists in a 76–52 win over the William & Mary Tribe. On November 18, Harris had his first career start for the Cavaliers and scored 12 points in an 81–60 loss against Stanford. At the Maui Invitational tournament, he scored 19 points on 8-of-13 field goals and 7 rebounds in a 106–63 loss against the Washington Huskies. In 35 minutes of playing time, Harris scored a then career-high 24 points on 8-of-12 field goals and grabbed 5 rebounds against the Minnesota Golden Gophers at the 2010 ACC–Big Ten Challenge, winning by 87–79. On January 2, he had a season-high 2 blocks in a 64–50 victory against the LSU Tigers. Two days later, Harris scored 16 points with a career-high 5 three-pointers made on 5-of-6 attempts in an 84–63 win against Howard. On February 5, Harris played for a career-high 41 minutes and recorded 18 points, 3 rebounds, 2 assists and 3 steals in a 68–70 overtime loss against the Miami Hurricanes. On February 26, he grabbed a career-high 10 rebounds against Boston College in a 44–63 loss. On March 1, Harris recorded an ACC career-high 19 points on 4-of-7 three-point attempts, 5 rebounds, 3 assists and 2 steals, leading the Cavaliers to a 69–58 victory against NC State. The Cavaliers lost to the Hurricanes in the first round of the 2011 ACC tournament 69–62 in overtime. The Cavaliers finished the season with a 7–9 conference record and a 16–15 overall record.


title: Joe Harris (basketball)

text: Harris averaged 29.4 minutes, 4.4 rebounds and 10.4 points per game, and averaged 32.0 minutes, 5.1 rebounds and 11.2 points in the sixteen regular season ACC games. He shot 41.8% from the field, and 41.7% from three-point range (the most by an ACC freshmen since 2000).


title: Joe Harris (basketball)

text: In the season-opening game against South Carolina State, Harris recorded 13 points, 6 rebounds and 4 assists in a 75–38 win. At the Cavaliers’ first of three Paradise Jam tournament games, Harris scored 13 points, grabbed 6 rebounds and gave 3 assists in a 55–57 losing effort against TCU. However, the Cavaliers defeated the Drexel Dragons and the Drake Bulldogs on their second and third games, by 49–35 and 60–52, respectively. Harris scored 12 points against the Dragons and 18 points against the Bulldogs. At the 2011 ACC–Big Ten Challenge, he scored 18 points, grabbed 7 rebounds and had a season-high 4 steals against the Michigan Wolverines, winning by 70–58. Harris tied his ACC career-high 19 points and his career-high 5 three-pointers in 65–61 win against the Clemson Tigers. On February 25, Harris recorded 12 points, 5 rebounds, 3 assists and a career-high 3 blocks against North Carolina in a 51–54 losing effort. The Cavaliers were defeated by NC State, 64–67, in the quarterfinals of the 2012 ACC tournament. Harris helped lead the Cavaliers to the 2012 NCAA tournament, the program's first tournament bid under Bennett and first since 2007. However, they were eliminated by the Florida Gators, 45–71, in the second round. The Cavaliers ended their season with a 9–7 conference record and a 22–10 overall record.


title: Joe Harris (basketball)

text: Harris fractured a bone in his left hand during a game against North Carolina on February 11. He still played in all of the remaining games of the season, but with a padded wrap wrapped around his hand. He also suffered a concussion in a game against Florida State on March 1, when an opposing player, Bernard James, accidentally elbowed the side of his head. Both men were fighting for the rebound, and both fell to the ground after the aforementioned hit. He was also unintentionally kicked in the stomach when James moved to get up, causing himself to be ejected. Harris was cleared to play in the next game.


title: Joe Harris (basketball)

text: Harris upped his scoring to 11.3 per game – second on the team to All-American Mike Scott. He also averaged 30.3 minutes and 3.9 rebounds per game. He shot 44.2% from the field, 38.0% from the three-point range and 77.2% from the free throw line, and was named to the All-State second team.


title: Joe Harris (basketball)

text: In the 2012–13 season, Harris became one of the top players in the Atlantic Coast Conference (ACC). He started out the season scoring 19 points, handing out 3 assists and grabbing a season-high 8 rebounds in a 59–63 defeat against George Mason. In the first round of the 2012 NIT Season Tip-Off tournament, Harris recorded 15 points, 3 assists and 7 rebounds in a 54–45 victory against the Fairfield Stags. However, Virginia would lose in the second round to Delaware, 53–59. Harris scored 20 points in the losing effort. At the 2012 ACC–Big Ten Challenge, he recorded a game-high 22 points, 5 assists and 5 rebounds in a 60–54 victory against the Wisconsin Badgers. On December 8, Harris gave a career-high 6 assists in a 67–39 win over Mississippi Valley State. At the Governor's Invitational game, he recorded 18 points, 2 assists, 3 rebounds and 2 steals in a 61–63 loss against the Old Dominion Monarchs. On February 12, he tied his career-high 5 three-pointers and finished with 26 points and 4 rebounds in a 73–55 victory over Virginia Tech. On February 28, Harris scored a career-high 36 points against Coach K's Duke Blue Devils in a 73–68 victory. He led the Cavaliers to an 11–7 conference record and a 23–12 overall record, scoring 16.3 points and collecting 4.0 rebounds per game. He was named first team All-ACC at the conclusion of the season.


title: Joe Harris (basketball)

text: Going into his senior season in 2013–14, Harris received significant preseason recognition. He was a member of the preseason All-ACC team and was named to the preseason watch list for the Wooden Award as national player of the year. Harris led the Cavaliers to their first outright ACC regular season title since 1981, their first ACC tournament title since 1976, and their first Sweet Sixteen appearance since 1995. Harris subsequently earned ACC tournament MVP honors, and was named to the All-Tournament team and All-ACC third team.


title: Joe Harris (basketball)

text: On June 26, 2014, Harris was selected with the 3rd pick of the second round (33rd overall) by the Cleveland Cavaliers in the 2014 NBA draft at the Barclays Center in Brooklyn, NY. On July 24, he signed his rookie scale contract with the Cavaliers after averaging 7.8 points, 1.5 rebounds and 1.5 assists during the 2014 NBA Summer League. On November 15, Harris recorded 12 points, 4 assists, 4 rebounds and a steal in a 127–94 win against the Atlanta Hawks. He topped his scoring against the Hawks on December 30, scoring 13 points on 4-of-7 shooting in a 101–109 defeat. Harris received his first career start on January 5, scoring a then career-high 16 points against the Philadelphia 76ers, losing by 92–95. Due to LeBron James's return and Kevin Love's acquisition, Harris rarely saw minutes and was assigned to the Canton Charge of the NBA Development League on January 20. The following day, Harris posted 18 points and 6 rebounds in his D-League debut in a 107–109 double overtime loss to the Delaware 87ers. Harris scored a career-high 26 points against the Maine Red Claws in a 92–104 defeat. On February 6, he scored a game-high 23 points on 6-of-15 field goals including 4 three-pointers in a 102–84 victory over the Sioux Falls Skyforce. In his rookie season, the Cavaliers made it to the 2015 NBA Finals, but they lost to the Golden State Warriors in six games.


title: Joe Harris (basketball)

text: On January 5, 2016, Harris underwent season-ending surgery to remove an extra bone in his right foot. A week later, he was traded, along with a 2017 second-round pick and cash considerations, to the Orlando Magic in exchange for a 2020 second-round pick. He was immediately waived by the Magic upon acquisition.


title: Joe Harris (basketball)

text: On July 19, 2016, Harris signed with the Brooklyn Nets. He made his debut for the Nets in their season opener on October 26, 2016, against the Boston Celtics. In 25 minutes off the bench, he scored 16 points on 6-of-15 shooting in a 122–117 loss. On December 18, 2016, he tied his then career high with 19 points in a 108–107 loss to the Philadelphia 76ers. On April 2, 2017, he was ruled out for the rest of the season with a sprained left shoulder.


title: Joe Harris (basketball)

text: On December 29, 2017, Harris scored a then career-high 21 points in a 111–87 win over the Miami Heat. On January 6, 2018, he recorded his first career double-double with 10 points and 12 rebounds in an 87–85 loss to the Boston Celtics. On March 25, 2018, he set a new career high with 30 points in a 121–114 loss to his former team the Cleveland Cavaliers.


title: Joe Harris (basketball)

text: On July 24, 2018, Harris re-signed with the Nets. On October 19, 2018, in a 107–105 win over the New York Knicks, Harris' first three-pointer was his 237th as a Net, moving him into 10th place on the franchise's career list. On November 4, in a 122–97 win over the 76ers, Harris made a three-pointer in his 25th straight game, moving into sole possession of fourth place on the Nets' career list. On December 23, in a 111–103 win over the Phoenix Suns, Harris made 3 three-pointers, making him the first player in franchise history to make three or more in six straight games. On December 26, he scored a season-high 27 points and made a game-winning layup with 3.4 seconds left in the second overtime to lift the Nets to a 134–132 win over the Charlotte Hornets. On February 11, 2019, he scored 24 points and made a career-best 7 three-pointers in a 127–125 loss to the Toronto Raptors. On February 16, he won the Three-Point Contest during All-Star weekend. In the playoffs, he shot 4-of-21 from 3-point range over five games.


title: Joe Harris (basketball)

text: On January 31, 2021, Harris made a career-high 8 three-pointers in a 149–146 loss to the Washington Wizards. On February 19, Harris set a franchise record as the fastest player to knock down 100 3-pointers in a season with 31 games played, surpassing the previous record accomplished by four players with 41 games. The Nets won the first series of the playoffs against the Boston Celtics, but were beaten in seven by the Milwaukee Bucks.


title: Joe Harris (basketball)

text: During a 93–106 loss to the Miami Heat on October 27, 2021, Harris became the franchise leader in career three-pointers, surpassing the 813 made by Jason Kidd for the Nets. On November 14, during a 120–96 win over the Oklahoma City Thunder, Harris suffered a left ankle injury. He underwent arthroscopic surgery on November 29 and was ruled out for at least 4-to-8 weeks. On March 3, 2022, Harris planned to undergo second ankle surgery and was ruled out for the remainder of the 2021–22 season. On March 21, he underwent the surgery, which was a left ankle ligament reconstruction.


title: Joe Harris (basketball)

text: Harris wears a fluorescent green band around his left wrist in memory of his late cousin, Tricia Haerling.


title: Joe Harris (basketball)

text: Since 2015, Harris has held the Joe Harris Basketball Camp for kindergartners to eighth graders every summer at Chelan High School.


title: Joe Harris (basketball)

text: Harris is a member of the "Starting Five", along with Malcolm Brogdon, Justin Anderson, Anthony Tolliver, and Garrett Temple. Their goal was to raise $225,000 through Hoops2O, founded by Brogdon, to fund five wells in East Africa by the end of the 2018–19 season. Harris traveled with Brogdon and Anderson to Tanzania to witness the opening of the first well they funded in July 2019, and by November, Hoops2O had raised nearly $400,000. By February 2020, the charity had funded the construction of ten wells in Tanzania and Kenya, bringing water to over 52,000 citizens.


title: Follies

text: The plot takes place in a crumbling Broadway theater, now scheduled for demolition, previously home to a musical revue (based on the "Ziegfeld Follies"). The evening follows a reunion of the Weismann Girls who performed during the interwar period. Several of the former showgirls perform their old numbers, often accompanied by the ghosts of their younger selves. The score offers a pastiche of 1920s and 1930s musical styles, evoking a nostalgic tone.


title: Follies

text: The original Broadway production, directed by Harold Prince and Michael Bennett, with choreography by Bennett, opened April 4, 1971. The musical was nominated for 11 Tony Awards and won seven. The original production, among the most costly on Broadway, ran for over 500 performances but ultimately lost its entire investment. The musical has had a number of major revivals, and several of its songs have become standards, including "Broadway Baby", "I'm Still Here", "Too Many Mornings", "Could I Leave You?", and "Losing My Mind".


title: Follies

text: After the failure of "Do I Hear a Waltz?" (1965), for which he had written the lyrics to Richard Rodgers's music, 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 "New York Times" article about a gathering of former Ziegfeld Girls, they decided upon a story about ex-showgirls.


title: Follies

text: 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 as director. These plans also did not work out, 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"; 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.


title: Follies

text: 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.


title: Follies

text: Sally Durant Plummer, "blond, petite, sweet-faced" and at 49 "still remarkably like the girl she was thirty years ago", 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, 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, whose smiles cover inner disappointment.


title: Follies

text: 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?" Facts never interest her; what matters is the song!); and Carlotta Campion, a film star who has embraced life and benefited from every experience.


title: Follies

text: As the guests reminisce, the stories of Ben, Phyllis, Buddy, and Sally unfold. Phyllis and Sally were roommates while in the Follies, and Ben and Buddy were best friends at school in New York. When Sally sees Ben, her former lover, she greets him self-consciously ("Don't Look at Me"). Buddy and Phyllis join their spouses and the foursome reminisces about the old days of their courtship and the theater, their memories vividly coming to life in the apparitions of their young counterparts ("Waiting For The Girls Upstairs"). Each of the four is shaken at the realization of how life has changed them. Elsewhere, Willy Wheeler (portly, in his sixties) cartwheels for a photographer. Emily and Theodore Whitman, ex-vaudevillians in their seventies, perform an old routine ("The Rain on the Roof"). Solange proves she is still fashionable at what she claims is 66 ("Ah, Paris!"), and Hattie Walker performs her old showstopping number ("Broadway Baby").


title: Follies

text: Buddy warns Phyllis that Sally is still in love with Ben, and she is shaken by how the past threatens to repeat itself. Sally is awed by Ben's apparently glamorous life, but Ben wonders if he made the right choices and considers how things might have been ("The Road You Didn't Take"). Sally tells Ben how her days have been spent with Buddy, trying to convince him (and herself) ("In Buddy's Eyes"). However, it is clear that Sally is still in love with Ben – even though their affair ended badly when Ben decided to marry Phyllis. She shakes loose from the memory and begins to dance with Ben, who is touched by the memory of the Sally he once cast aside.


title: Follies

text: Phyllis interrupts this tender moment and has a biting encounter with Sally. Before she has a chance to really let loose, they are both called on to participate in another performance – Stella Deems gets Sally, Phyllis, Emily, Hattie, and some others to perform an old number ("Who's That Woman?"), as they are mirrored by their younger selves. Afterward, Phyllis and Ben angrily discuss their lives and relationship, which has become numb and emotionless. Sally is bitter, having never been happy with Buddy, although he has always adored her. She accuses him of having affairs while he is on the road, and he admits he has a steady girlfriend, Margie, in another town, but always returns home. Carlotta amuses a throng of admirers with a tale of how her dramatic solo was cut from the Follies because the audience found it humorous, transforming it as she sings it into an anthem-like toast to her own hard-won survival ("I'm Still Here").


title: Follies

text: Ben confides to Sally that his life is empty. She yearns for him to hold her, but young Sally slips between them and the three move together ("Too Many Mornings"). Ben, caught in the passion of memories, kisses Sally as Buddy watches from the shadows. Sally thinks this is a sign that the two will finally get married, and Ben is about to protest until Sally interrupts him with a kiss and runs off to gather her things, thinking that the two will leave together. Buddy leaves the shadows furious, and fantasizes about the girl he should have married, Margie, who loves him and makes him feel like "a somebody", but bitterly concludes he does not love her back ("The Right Girl"). He tells Sally that he's done, but she is lost in a fantasy world and tells him that Ben has asked her to marry him. Buddy tells her she must be either crazy or drunk, but he's already supported Sally through rehab clinics and mental hospitals and cannot take any more. Ben drunkenly propositions Carlotta, with whom he once had a fling, but she has a young lover and coolly turns him down. Heidi Schiller, joined by her younger counterpart, performs "One More Kiss", her aged voice a stark contrast to the sparkling coloratura of her younger self. Phyllis kisses a waiter and confesses to him that she had always wanted a son. She then tells Ben that their marriage can't continue the way it has been. Ben replies by saying that he wants a divorce, and Phyllis assumes the request is due to his love for Sally. Ben denies this, but still wants Phyllis out of his life. Angry and hurt, Phyllis considers whether to grant his request ("Could I Leave You?").


title: Follies

text: 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". Sally, Phyllis, Ben, and Buddy show their "real and emotional lives" in "a sort of group nervous breakdown".


title: Follies

text: 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 ("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 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.


title: Follies

text: "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 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.


title: Follies

text: ≠ Some productions substitute "Ah, but Underneath" when the actress portraying Phyllis is not primarily a dancer.


title: Follies

text: Note: This is the song list from the original Broadway production in 1971. Variations are discussed in Versions.


title: Follies

text: Songs cut before the Broadway premiere include "All Things Bright and Beautiful" (used in the prologue), "Can That Boy Foxtrot!", "Who Could Be Blue?", "Little White House", "So Many People", "It Wasn't Meant to Happen", "Pleasant Little Kingdom", and "Uptown Downtown". The musical numbers "Ah, but Underneath" (replacing "The Story of Lucy and Jessie"), "Country House", "Make the Most of Your Music" (replacing "Live, Laugh, Love"), "Social Dancing" and a new version of "Loveland" have been incorporated into various productions.


title: Follies

text: Hal Prince said: ""Follies" examines obsessive behavior, neurosis and self-indulgence more microscopically than anything I know of." 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. 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."


title: Follies

text: Joanne Gordon, author and chair and artistic director, Theatre, at California State University, Long Beach, 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." ""Follies" contains two scores: the Follies pastiche numbers and the book numbers." 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". 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."


title: Follies

text: "Loveland", the final musical sequence, (that "consumed the last half-hour of the original" production) 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." "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.


title: Follies

text: Goldman continued to revise the book of the musical right up to his death, which occurred shortly before the 1998 Paper Mill Playhouse production. Sondheim, too, has added and removed songs that he judged to be problematic in various productions. Ted Chapin explains: "Today, "Follies" is rarely performed twice in exactly the same version. James Goldman's widow made the observation that the show has morphed throughout its entire life ... The London production had new songs and dialogue. The Paper Mill Playhouse production used some elements from London but stayed close to the original. The 2001 Roundabout Broadway revival, the first major production following Goldman's death in 1998, was again a combination of previous versions."


title: Follies

text: Major changes were made for the original production in London, which attempted to establish a lighter tone and favored a happier ending than the original Broadway production. According to Joanne Gordon, "When "Follies" opened in London ... it had an entirely different, and significantly more optimistic, tone. Goldman's revised book offered some small improvements over the original."


title: Follies

text: According to Sondheim, producer Cameron Mackintosh asked for changes for the 1987 London production. "I was reluctantly happy to comply, my only serious balk being at his request that I cut "The Road You Didn't Take" ... I saw no reason not to try new things, knowing we could always revert to the original (which we eventually did). The net result was four new songs ... For reasons which I've forgotten, I rewrote "Loveland" for the London production. There were only four showgirls in this version, and each one carried a shepherd's crook with a letter of the alphabet on it."


title: Follies

text: The musical was written in one act, and the original director, Prince, did not want an intermission, while the co-director, Bennett, wanted two acts. It originally was performed in one act. The 1987 West End, 2005 Barrington Stage Company, the 2001 Broadway revival and Kennedy Center 2011 productions were performed in two acts. However, the August 23, 2011 Broadway preview performance was performed without an intermission. By the time the 2011 Broadway revival opened, it was performed with an intermission in two acts. The 2017 National Theatre production is performed without an interval.


title: Follies

text: "Follies" had its pre-Broadway tryout at the Colonial Theatre, Boston, from February 20 through March 20, 1971.


title: Follies

text: "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 as Stella Deems, Arnold Moss as Dimitri Weismann, Ethel Shutta as Hattie Walker, and Marcie Stringer and Charles Welch as Emily and Theodore Whitman.


title: Follies

text: The show closed on July 1, 1972, after 522 performances and 12 previews. According to "Variety", the production was a "total financial failure, with a cumulative loss of $792,000." Prince planned to present the musical on the 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.


title: Follies

text: 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. Rich later wrote that audiences at the original production were baffled and restless.


title: Follies

text: 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." 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." "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.)"


title: Follies

text: The musical was produced at The Muny, St. Louis, Missouri in July 1972 and then transferred to the Shubert Theatre, Century City, California, running from July 22, 1972, through October 1, 1972. It was directed by Prince and starred Dorothy Collins (Sally; replaced by Janet Blair), Alexis Smith (Phyllis), John McMartin (Ben; replaced by Edward Winter), Gene Nelson (Buddy), and Yvonne De Carlo (Carlotta) reprising their original roles. The production was the premiere attraction at the newly constructed 1,800-seat theater, which, coincidentally, was itself razed thirty years later (in 2002, in order to build a new office building), thus mirroring the "Follies" plot line upon which the musical is based.


title: Follies

text: A full production ran at the Forum Theatre, Wythenshawe, England, from April 30, 1985, directed by Howard Lloyd-Lewis, design by Chris Kinman, costumes by Charles Cusick-Smith, lighting by Tim Wratten, musical direction by Simon Lowe, and choreographed by Paul Kerryson. The cast included Mary Millar (Sally Durant Plummer), Liz Izen (Young Sally), Meg Johnson (Stella Deems), Les Want (Max Deems), Betty Benfield (Heidi Schiller), Joseph Powell (Roscoe), Chili Bouchier (Hattie Walker), Shirley Greenwood (Emily Whitman), Bryan Burdon (Theodore Whitman), Monica Dell (Solange LaFitte), Jeannie Harris (Carlotta Campion), Josephine Blake (Phyllis Rogers Stone), Kevin Colson (Ben), Debbie Snook (Young Phyllis), Stephen Hale (Young Ben), Bill Bradley (Buddy Plummer), Paul Burton (Young Buddy), David Scase (Dimitri Weismann), Mitch Sebastian (Young Vincent), Kim Ismay (Young Vanessa), Lorraine Croft (Young Stella), and Meryl Richardson (Young Heidi).


title: Follies

text: A staged concert at Avery Fisher Hall, Lincoln Center, was performed on September 6 and 7, 1985. The concert starred Barbara Cook (Sally), George Hearn (Ben), Mandy Patinkin (Buddy), and Lee Remick (Phyllis), and featured Carol Burnett (Carlotta), Betty Comden (Emily), Adolph Green (Theodore), Liliane Montevecchi (Solange LaFitte), Elaine Stritch (Hattie Walker), Phyllis Newman (Stella Deems), Jim Walton (Young Buddy), Howard McGillin (Young Ben), Liz Callaway (Young Sally), Daisy Prince (Young Phyllis), Andre Gregory (Dmitri), Arthur Rubin (Roscoe), and Licia Albanese (Heidi Schiller). Rich, in his review, noted that "As performed at Avery Fisher Hall, the score emerged as an original whole, in which the 'modern' music and mock vintage tunes constantly comment on each other, much as the script's action unfolds simultaneously in 1971 (the year of the reunion) and 1941 (the year the Follies disbanded)."


title: Follies

text: Among the reasons the concert was staged was to provide an opportunity to record the entire score. The resulting album was more complete than the original cast album. However, director Herbert Ross took some liberties in adapting the book and score for the concert format—dance music was changed, songs were given false endings, the new dialogue was spoken, reprises were added, and Patinkin was allowed to sing "The God-Why-Don't-You-Love-Me Blues" as a solo instead of a trio with two chorus girls. Portions of the concert were seen by audiences worldwide in the televised documentary about the making of the concert, also released on videotape and DVD, of" 'Follies' in Concert".


title: Follies

text: The musical played in the West End at the Shaftesbury Theatre on July 21, 1987, and closed on February 4, 1989, after 644 performances. The producer was Cameron Mackintosh, the direction was by Mike Ockrent, with choreography by Bob Avian and design by Maria Björnson. The cast featured Diana Rigg (Phyllis), Daniel Massey (Ben), Julia McKenzie (Sally), David Healy (Buddy), Lynda Baron, Leonard Sachs, Maria Charles, Pearl Carr & Teddy Johnson. Dolores Gray was praised as Carlotta, continuing to perform after breaking her ankle, although in a reduced version of the part. During the run, Eartha Kitt replaced Gray, sparking somewhat of a comeback (she went on to perform her own one-woman show at The Shaftesbury Theatre to sell-out houses for three weeks from March 18, 1989, after "Follies" closed). Other cast replacements included Millicent Martin as Phyllis. Julia McKenzie returned to the production for the final four performances.


title: Follies

text: The book "was extensively reworked by James Goldman, with Sondheim's cooperation and also given an intermission." The producer Cameron Mackintosh did not like "that there was no change in the characters from beginning to end ... In the London production ... the characters come to understand each other." Sondheim "did not think the London script was as good as the original." However, he thought that it was "wonderful" that, at the end of the first act, "the principal characters recognized their younger selves and were able to acknowledge them throughout the last thirty minutes of the piece." Sondheim wrote four new songs: "Country House" (replacing "The Road You Didn't Take"), "Loveland" (replacing the song of the same title), "Ah, But Underneath" (replacing "The Story of Lucy and Jessie", for the non-dancer Diana Rigg), and "Make the Most of Your Music" (replacing "Live, Laugh, Love").


title: Follies

text: 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." 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 "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. "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". 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 Ziegfeld aficionados, and its fresh lesson for the graying principals."


title: Follies

text: "Follies" was voted ninth in a BBC Radio 2 listener poll of the UK's "Nation's Number One Essential Musicals".


title: Follies

text: Michigan Opera Theatre (MOT) was the first major American opera company to present "Follies" as part of their main stage repertoire, running from October 21, 1988, through November 6. The MOT production starred Nancy Dussault (Sally), John-Charles Kelly (Buddy), Juliet Prowse (Phyllis) and Ron Raines (Ben), Edie Adams (Carlotta), Thelma Lee (Hattie), and Dennis Grimaldi (Vincent).


title: Follies

text: A production also ran from March to April 1995 at the Theatre Under the Stars, Houston, Texas, and in April to May 1995 at the 5th Avenue Theatre, Seattle with Constance Towers (Phyllis), Judy Kaye (Sally), Edie Adams, Denise Darcel, Virginia Mayo, Maxene Andrews (Hattie), and Karen Morrow (Carlotta). The 1998 Paper Mill Playhouse production (Millburn, New Jersey) was directed by Robert Johanson with choreography by Jerry Mitchell and starred Donna McKechnie (Sally), Dee Hoty (Phyllis), Laurence Guittard (Ben), Tony Roberts (Buddy), Kaye Ballard (Hattie ), Eddie Bracken (Weismann), and Ann Miller (Carlotta). Phyllis Newman and Liliane Montevecchi reprised the roles they played in the Lincoln Center production. "Ah, but Underneath" was substituted for "The Story of Lucy and Jessie" in order to accommodate non-dancer Hoty. This 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.


title: Follies

text: 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 (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.


title: Follies

text: The Dublin Concert was held in May 1996 at the National Concert Hall. Directed by Michael Scott, the cast included Lorna Luft, Millicent Martin, Mary Millar, Dave Willetts, Trevor Jones Bryan Smyth, Alex Sharpe, Christine Scarry, Aidan Conway and Enda Markey.


title: Follies

text: A concert was held at Theatre Royal, Drury Lane, London, on December 8, 1996, and broadcast on BBC Radio 2 on February 15, 1997. The cast starred Julia McKenzie (Sally), Donna McKechnie (Phyllis), Denis Quilley (Ben) and Ron Moody (Buddy). This show recreated the original Broadway score.


title: Follies

text: "Follies" was performed in concert at the Sydney Opera House with the Sydney Symphony Orchestra in February 1998 as the highlight of the Sydney Gay and Lesbian Mardi Gras and had three performances. It was directed and staged by Stephen Lloyd Helper and produced by Helper and Alistair Thomson for Mardi Gras. It starred Toni Lamond (Sally), Jill Perryman(Carlotta), Judi Connelli (Phyllis), Terence Donovan (Ben), Nancye Hayes (Hattie), Glenn Butcher (Buddy), Ron Haddrick (Dimitri), Susan Johnston (Heidi), and Leonie Page, Maree Johnson, Mitchell Butel, Maureen Howard. The Sydney Symphony was conducted by Maestro Tommy Tycho. It followed a similar presentation at the 1995 Melbourne Festival of Arts with a different cast and orchestra.


title: Follies

text: A Broadway revival opened at the Belasco Theatre on April 5, 2001, and closed on July 14, 2001, after 117 performances and 32 previews. This Roundabout Theatre limited engagement had been expected to close on September 30, 2001. Directed by Matthew Warchus with choreography by Kathleen Marshall, it starred Blythe Danner (Phyllis), Judith Ivey (Sally), Treat Williams (Buddy), Gregory Harrison (Ben), Marge Champion, Polly Bergen (Carlotta), Joan Roberts (Laurey from the original Broadway production of "Oklahoma!"; later replaced by Marni Nixon), Larry Raiken (Roscoe) and an assortment of famous names from the past. Former MGM and onetime Broadway star Betty Garrett, best known to younger audiences for her television work, played Hattie. It was significantly stripped down (earlier productions had featured extravagant sets and costumes) and was not a success critically.


title: Follies

text: According to an article in "The Hollywood Reporter", "almost every performance of the show played to a full house, more often than not to standing-room-only. Tickets always were tough to come by. The reason the final curtain came down Saturday was that being a production by the Roundabout Theatre Company – a subscription-based 'not-for-profit' theater company – it was presented under special Equity terms, with its actors paid a minimal fee. To extend the show, it would have been necessary to negotiate new contracts with the entire company ... because of the Belasco's limited seating, it wasn't deemed financially feasible to do so."


title: Follies

text: Theater writer and historian John Kenrick wrote "the bad news is that this "Follies" is a dramatic and conceptual failure. The good news is that it also features some of the most exciting musical moments Broadway has seen in several seasons. Since you don't get those moments from the production, the book or the leads, that leaves the featured ensemble, and in "Follies" that amounts to a small army ... Marge Champion and Donald Saddler are endearing as the old hoofers ... I dare you not to fall in love with Betty Garrett's understated "Broadway Baby" – you just want to pick her up and hug her. Polly Bergen stops everything cold with "I'm Still Here", bringing a rare degree of introspection to a song that is too often a mere belt-fest ... [T]he emotional highpoint comes when Joan Roberts sings 'One More Kiss'."


title: Follies

text: 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 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". This production conducted by Julian Kelly featured the original Broadway score.


title: Follies

text: "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.


title: Follies

text: 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). Hal Linden originally was going to play Ben, but left because he was cast in the Broadway revival of "Cabaret" as Herr Schultz. Tom Bosley originally was cast as Dimitri Weismann.


title: Follies

text: A concert production at the Michigan Theater in January 2003 reunited the four principal young ghosts of the original Broadway cast: Kurt Peterson, Harvey Evans, Virginia Sandifur, and Marti Rolph. Having originated the young ghosts over 30 years prior, the actors portrayed the older versions of their Broadway roles. Donna McKechnie enjoyed top billing as Carlotta.


title: Follies

text: 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 (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. This production used the original text, and the "Loveland" lyrics performed in the 1987 London production.


title: Follies

text: 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. 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 Schaeffer, with choreography by Warren Carlyle, costumes by Gregg Barnes, set by Derek McLane and lighting by Natasha Katz. Also featured were Rosalind Elias as Heidi, Régine as Solange, Susan Watson as Emily, and Terri White as Stella. The budget was reported to be $7.3 million. The production played to 95% capacity.


title: Follies

text: 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 - 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."


title: Follies

text: 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. 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. A two-disc cast album of this production was recorded by PS Classics and was released on November 29, 2011.


title: Follies

text: 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." The production's run was extended, and its grosses exceeded expectations, but it did not recoup its investment.


title: Follies

text: The Broadway production won the Drama League Award, Distinguished Production of a Musical Revival for 2011-2012 and the Drama Desk Award for Outstanding Revival of a Musical, Outstanding Actor in a Musical (Burstein) and Outstanding Costume Design (Barnes). Out of seven Tony Award nominations, including Best Revival of a Musical, it won only one, for Barnes' costumes.


title: Follies

text: The 2011 Broadway and Kennedy Center production transferred to the Ahmanson Theatre, Los Angeles, California, in a limited engagement, from May 3, 2012, through June 9. The majority of the Broadway cast reprised their roles, with the exception of Bernadette Peters, who had prior concert commitments and was replaced by Victoria Clark in the role of Sally, a role she has previously played in New York. Other new cast members included Carol Neblett as Heidi, Sammy Williams as Theodore and Obba Babatunde as Max.


title: Follies

text: For its first production in France, "Follies" was presented at the Toulon Opera House in March 2013. This English-language production, using the full original orchestration, was directed by Olivier Bénézech and conducted by David Charles Abell. The cast featured Charlotte Page (Sally), Liz Robertson (Phyllis), Graham Bickley (Ben), Jérôme Pradon (Buddy), Nicole Croisille (Carlotta), Julia Sutton (Hattie) and Fra Fee (Young Buddy).


title: Follies

text: A concert version at the Melbourne Recital Centre, staged with a full 23-piece orchestra and Australian actors Philip Quast (Ben), David Hobson (Buddy), Lisa McCune (Sally), Anne Wood (Phyllis), Rowan Witt (Young Buddy), Sophie Wright (Young Sally), Nancy Hayes (Hattie), Debra Byrne (Carlotta), and Queenie van de Zandt (Stella). The production was directed by Tyran Parke and produced by StoreyBoard Entertainment.


title: Follies

text: A London revival was performed in the Olivier Theatre at the 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 as Buddy, Imelda Staunton as Sally, Janie Dee as Phyllis, Philip Quast as Ben and Tracie Bennett as Carlotta. 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.


title: Follies

text: The production returned to the Olivier Theatre on February 14, 2019, playing until May 11. Janie Dee and Peter Forbes returned as Phyllis and Buddy, while Joanna Riding and 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.


title: Follies

text: The 2017 production was nominated for 10 Laurence Olivier Awards and won 2 for Best Musical Revival and Best Costume Design (by Vicki Mortimer).


title: Follies

text: In the foreword to "Everything Was Possible", Frank Rich wrote: "From the start, critics have been divided about "Follies", passionately pro or con but rarely on the fence ... Is it really a great musical, or merely the greatest of all cult musicals?" (Chapin, p. xi) Ted Chapin wrote, "Taken as a whole, the collection of reviews "Follies" received was as rangy as possible." (Chapin, p. 300) In his "The New York Times" review of the original Broadway production, Clive Barnes wrote: "it is stylish, innovative, it has some of the best lyrics I have ever encountered, and above all it is a serious attempt to deal with the musical form." Barnes also called the story shallow and Sondheim's words a joy "even when his music sends shivers of indifference up your spine."


title: Follies

text: Walter Kerr wrote in "The New York Times" about the original production: ""Follies" is intermissionless and exhausting, an extravaganza that becomes so tedious ... because its extravaganzas have nothing to do with its pebble of a plot." On the other hand, Martin Gottfried wrote: ""Follies" is truly awesome and, if it is not consistently good, it is always great."


title: Follies

text: "Time" magazine wrote about the original Broadway production: "At its worst moments, "Follies" is mannered and pretentious, overreaching for Significance. At its best moments—and there are many—it is the most imaginative and original new musical that Broadway has seen in years."


title: Follies

text: Frank Rich, in reviewing the 1985 concert in "The New York Times", wrote: "Friday's performance made the case that this Broadway musical ... can take its place among our musical theater's very finest achievements." Ben Brantley, reviewing the 1998 Paper Mill Playhouse production in "The New York Times", concluded that it was a "fine, heartfelt production, which confirms "Follies" as a landmark musical and a work of art ...".


title: Follies

text: The "Time" reviewer wrote of the 2001 Broadway revival: "Even in its more modest incarnation, "Follies" has, no question, the best score on Broadway." He noted, though, that "I'm sorry the cast was reduced from 52 to 38, the orchestra from 26 players to 14 ... To appreciate the revival, you must buy into James Goldman's book, which is peddling a panoramically bleak take on marriage." Finally, he wrote: "But "Follies" never makes fun of the honorable musical tradition to which it belongs. The show and the score have a double vision: simultaneously squinting at the messes people make of their lives and wide-eyed at the lingering grace and lift of the music they want to hear. Sondheim's songs aren't parodies or deconstructions; they are evocations that recognize the power of a love song. In 1971 or 2001, "Follies" validates the legend that a Broadway show can be an event worth dressing up for."


title: Follies

text: Brantley, reviewing the 2007 Encores! concert for "The New York Times", wrote: "I have never felt the splendid sadness of "Follies" as acutely as I did watching the emotionally transparent concert production ... At almost any moment, to look at the faces of any of the principal performers ... is to be aware of people both bewitched and wounded by the contemplation of who they used to be. When they sing, in voices layered with ambivalence and anger and longing, it is clear that it is their past selves whom they are serenading."


title: Follies

text: There have been six recordings of "Follies" released: the original 1971 Broadway cast album; "Follies in Concert", Avery Fisher Hall (1985); the original London production (1987); the Paper Mill Playhouse (1998); the 2011 Broadway revival; and the 2017 London revival. The original cast album has always been controversial, because significant portions of the score were cut to fit onto one LP. However, as Kritzerland Records head Bruce Kimmel wrote in his liner notes to Kritzerland's remixed version of the album, "What it did have made it something that, despite the frustrations, meant it would never be bettered – the original cast."


title: Follies

text: The cast recording of the 2011 Broadway revival, by PS Classics, was released officially on November 29, 2011, and was in pre-sale before the store release. PS Classics co-founder Tommy Krasker stated "We've never had the kind of reaction that we've had for "Follies". Not only has it already outsold every other album at our website, but the steady stream of emails from customers has been amazing." This recording includes "extended segments of the show's dialogue". The theatermania.com reviewer wrote that "The result is an album that, more so than any of the other existing recordings, allows listeners to re-experience the heartbreaking collision of past and present that's at the core of the piece." The recording of the 2011 revival was nominated for a Grammy Award in the Musical Theater Album category. The 2017 London revival cast was recorded after the production closed in January 2018, and was released in early 2019.


title: Follies

text: In January 2015, it was reported that Rob Marshall signed on to direct, with Meryl Streep rumored to star. Tony Award-winning playwright and Academy Award-nominated screenwriter John Logan has expressed interest in writing the adaptation.


title: Follies

text: In November 2019, it was announced that Dominic Cooke will adapt the screenplay as well as direct, following the successful 2017 National Theatre revival in London, which returned in 2019 due to popular demand.


title: Nicolò Fagioli

text: Nicolò Fagioli (born 12 February 2001) is an Italian footballer who plays as a midfielder for club Juventus and the Italy national team.


title: Nicolò Fagioli

text: In 2015, Fagioli moved to Juventus' youth setup, playing the 2015–16 season with the under-17s. Fagioli was early promoted to the "Primavera" (under-19s) side in the 2017–18 season, in which he scored 13 goals in 25 games. In 2018, Fagioli was included in "The Guardian"'s best 60 world talents.


title: Nicolò Fagioli

text: Fagioli made his Serie C debut for Juventus U23, the reserve team of Juventus, on 24 September 2018, in a 4–0 defeat against Carrarese, which was his only game of the 2018–19 season. On 27 January 2019, Fagioli was first called up to the first team for a Serie A match against Lazio. On 27 June 2020, Fagioli won the Coppa Italia Serie C after a 2–1 win against Ternana in the final. In 2019–20, Fagioli played five league games, helping Juventus U23 reach the promotion play-offs, where he played one game against Padova.


title: Nicolò Fagioli

text: On 1 November, Fagioli scored his first goal for Juventus U23 in a 1–1 home draw against Lecco. Fagioli ended the 2020–21 season with two goals scored in 20 appearances for Juventus U23. On 27 January 2021, Fagioli made his debut for Juventus, playing as a starter in a 4–0 Coppa Italia win over SPAL. His Serie A debut came on 22 February 2021, coming on as a substitute for Rodrigo Bentancur in the 69th minute in a 3–0 home win against Crotone.


title: Nicolò Fagioli

text: On 31 August 2021, Fagioli was sent on a one-year loan to Serie B side Cremonese. On 12 September, Fagioli debuted for Cremonese in a 2–0 win against Cittadella. Seven days later, Fagioli scored his first goal for Cremonese in a 2–1 against Parma. Fagioli ended the season with a total of three goals in 33 appearances and helped Cremonese to be promoted in Serie A.


title: Nicolò Fagioli

text: On 10 August 2022, Juventus announced that Fagioli had renewed his contract until 2026. On 14 September, he made his Champions League debut in a 2–1 defeat against Benfica. On 29 October, he scored his first Serie A goal in a 1–0 away win over Lecce, with a curling shot at the 70th minute.


title: Nicolò Fagioli

text: Fagioli was a starter in most games for Italy U17 at the 2018 UEFA European Under-17 Championship. In the final against the Netherlands, he came on as a substitute in the 55th minute and provided two assists in the next eight minutes to help his team come back from 0–1 deficit and take the 2–1 lead. Netherlands eventually equalized and beat Italy in the penalty shootout.


title: Nicolò Fagioli

text: On 3 September 2021, he made his debut with the Italy U21 squad, playing as a substitute in the qualifying match won 3–0 against Luxembourg.


title: Nicolò Fagioli

text: On 16 November 2022, days after receiving his first senior call-up for the Italy national football team by head coach Roberto Mancini, Fagioli made his debut for the "Azzurri" during a friendly game against Albania.


title: Nicolò Fagioli

text: Fagioli is a "trequartista", mainly fielded as "fantasista." Fagioli can also move down the pitch as a defensive midfielder or as a central midfielder. During his career, Fagioli has also played as a second striker, mezz'ala, playmaker. Fagioli has also often been compared to Andrea Pirlo.


title: South Padre Island, Texas

text: South Padre Island is a resort town in Cameron County, Texas, United States. It is part of the Brownsville–Harlingen Metropolitan Statistical Area. The population was 2,066 at the 2020 census. The town is located on South Padre Island, a barrier island along the Texas Gulf Coast accessible via the Queen Isabella Causeway from the town of Port Isabel. South Padre Island is named after José Nicolás Ballí (Padre Ballí), a Catholic priest and settler.


title: South Padre Island, Texas

text: On December 13, 2009, an unfinished 31-story condominium, known locally as Ocean Tower, was brought down by a controlled implosion. Work had begun in 2006 but construction was halted in 2008 due to uneven settlement. As the problem could not be rectified, the incomplete reinforced concrete structure was demolished.


title: South Padre Island, Texas

text: Subsequent to rebuilding from Hurricane Beulah, the island became a popular spring break destination for college students and a resort destination for families. Many multistory resort hotels and condominiums have been erected along the coastline of the Gulf of Mexico. The Schlitterbahn Beach Waterpark, the second of its kind in Texas, opened in South Padre Island in 2001.


title: South Padre Island, Texas

text: The year-round warm weather attracts tourists worldwide allowing them to experience the 34 miles of beach, 300+ days of sunshine, and all forms of entertainment from water sports to live music. With personal water craft rental, parasailing and dolphin watches being the most popular. Other favorites are horseback riding adventures on the beach and ecological tours that explore Laguna Madre Bay and Gulf of Mexico. The official website for South Padre Island's Tourism Page is https://www.sopadre.com/.


title: South Padre Island, Texas

text: Fishing is also popular. Every year, the Texas International Fishing Tournament is held in late summer, with winnings totaling almost a quarter million dollars. Other fishing tournaments include the Ladies Kingfish Tournament, the Ron Hoover Tournament, just to name a few.


title: South Padre Island, Texas

text: In March, the island is a popular spring break destination for college students from around the world. The rest of the year it is a popular family resort destination, with July being the most crowded.


title: South Padre Island, Texas

text: In January 2011, the island hosted the NBA Development League Showcase at the South Padre Island Convention Centre.


title: South Padre Island, Texas

text: On March 27, 2000, WCW Monday Nitro was held at the former Sheraton Hotel (Now Pearl) as part of their yearly Nitro Spring Break editions.


title: South Padre Island, Texas

text: Good views of the nearby SpaceX South Texas launch site at Boca Chica has attracted hundreds of tourists.


title: South Padre Island, Texas

text: The town of South Padre Island is located at the southern end of South Padre Island, with the town limits extending from the northern edge of Isla Blanca Park in the south to the end of development north of Wharf Street in the north, a distance of . The Queen Isabella Causeway is the only road access to the mainland; it leads across Laguna Madre to the city of Port Isabel. Brownsville is southwest of South Padre Island.


title: South Padre Island, Texas

text: According to the United States Census Bureau, the town has a total area of , of which is land and , or 8.44%, is water.


title: South Padre Island, Texas

text: South Padre Island experiences a warm humid subtropical climate (Köppen "Cwa"), transitioning into a hot semi-arid climate (BSh). The average high in January is and the average low is . The average high in July is , and the average low is . The warm season is long, as average high temperatures are , and average low temperatures typically around . The region experiences relatively high dew point values, around in the summer time, resulting in higher relative humidity values from June through September. Rainfall tends to be the highest during the summer and autumn months, usually ranging from 2 to 6 inches of rain each month. September has the highest rainfall, averaging 6.3 inches, followed by October, which averages 4 inches of rain. Due to the island being next to the ocean, temperatures above are not common. South Padre Island went down to at least during the 2021 Texas freeze.


title: South Padre Island, Texas

text: Due to the fact that South Padre Island is surrounded by water, precipitation is a little higher than cities farther inland in the Rio Grande Valley. In March, the island is a popular resort area to many tourists. Tens of thousands of tourists come to the island to enjoy the warm temperatures South Padre Island offers. The island even ranked #1 in Best Spring Break Destinations by U.S. News & World Report


title: South Padre Island, Texas

text: As of the 2020 United States census, there were 2,066 people, 1,477 households, and 892 families residing in the town.


title: South Padre Island, Texas

text: As of the census of 2000, there were 2,422 people, 1,222 households, and 662 families residing in the town. The population density was 1,335.9 people per square mile (516.7/km). There were 4,685 housing units at an average density of 2,584.1 per square mile (999.4/km). The racial makeup of the town was 94.59% White, 0.70% African American, 0.45% Native American, 0.21% Asian, 0.04% Pacific Islander, 2.77% from other races, and 1.24% from two or more races. 22.83% of the population is Hispanic or Latino of any race.


title: South Padre Island, Texas

text: There were 1,211 households, out of which 15.4% had children under the age of 18 living with them, 47.2% were married couples living together, 4.2% had a female householder with no husband present, and 45.3% were non-families. 35.8% of all households were made up of individuals, and 7.8% had someone living alone who was 65 years of age or older. The average household size was 2.00 and the average family size was 2.54.


title: South Padre Island, Texas

text: In the town, the population was spread out, with 12.9% under the age of 18, 6.2% from 18 to 24, 28.2% from 25 to 44, 34.2% from 45 to 64, and 18.4% who were 65 years of age or older. The median age was 47 years. For every 100 females, there were 113.8 males. For every 100 females age 18 and over, there were 115.9 males.


title: South Padre Island, Texas

text: The median income for a household in the town was $45,417, and the median income for a family was $53,250. Males had a median income of $39,250 versus $30,028 for females. The per capita income for the town was $31,708. About 10.2% of families and 12.0% of the population were below the poverty line, including 11.1% of those under age 18 and 7.8% of those age 65 or over.


title: South Padre Island, Texas

text: Children living in South Padre Island are zoned to schools in Point Isabel Independent School District. Children go to Garriga Elementary School (prek-5th), Port Isabel Junior High School (6–8), and Port Isabel High School (9–12). All of the schools are in Port Isabel.


title: South Padre Island, Texas

text: In addition, South Padre Island residents may apply to schools in the South Texas Independent School District.


title: South Padre Island, Texas

text: Coast Guard Station South Padre Island is a United States Coast Guard search and rescue station on South Padre Island.


title: South Padre Island, Texas

text: Brownsville/South Padre Island International Airport in Brownsville and Valley International Airport in Harlingen serve the island.


title: South Padre Island, Texas

text: South Padre Island is mentioned by Mark Wahlberg's character Cade Yeager in "" when he is seen first meeting up with his best friend/business partner Lucas (T. J. Miller).


title: South Padre Island, Texas

text: Loose interpretations of South Padre Island and neighboring Port Isabel appear in the racing video game "The Crew".


title: South Padre Island, Texas

text: South Padre Island is home to The MBM-McCarter Families Inc. and headquarters to MBM Corporative Inc. since May 2000, where the family has played a big role on the community.


title: Climate engineering

text: Climate engineering (also called geoengineering) is a term used for both carbon dioxide removal (CDR) and solar radiation management (SRM), also called solar geoengineering, when applied at a planetary scale. However, they have very different geophysical characteristics which is why the IPCC (Intergovernmental Panel on Climate Change) no longer uses this overarching term. Carbon dioxide removal approaches are part of climate change mitigation. Solar geoengineering involves reflecting some sunlight (solar radiation) back to space. All forms of geoengineering are not a standalone solution to climate change, but need to be coupled with other forms of climate change mitigation. Another approach to geoengineering is to increase the Earth's thermal emittance through passive radiative cooling.


title: Climate engineering

text: Carbon dioxide removal (CDR) is defined as "Anthropogenic activities removing carbon dioxide (CO2) from the atmosphere and durably storing it in geological, terrestrial, or ocean reservoirs, or in products. It includes existing and potential anthropogenic enhancement of biological or geochemical CO2 sinks and direct air carbon dioxide capture and storage (DACCS), but excludes natural CO2 uptake not directly caused by human activities."


title: Climate engineering

text: Some types of climate engineering is highly controversial due to the large uncertainties around effectiveness, side effects and unforeseen consequences. However, the risks of such interventions must be seen in the context of the trajectory of climate change without them.


title: Climate engineering

text: As of 2018 the terms "climate engineering" and "geoengineering" are not used by the Intergovernmental Panel on Climate Change (IPCC). Climate engineering (or geoengineering) is used in the literature as a term for both CDR (carbon dioxide removal) or SRM (Solar radiation management or solar geoengineering) when applied at a planetary scale. However, they have very different geophysical characteristic which is why the IPCC no longer uses this term.


title: Climate engineering

text: The following methods are not termed "climate engineering" in the latest IPCC assessment report in 2022 but are nevertheless included in other publications on this topic:


title: Climate engineering

text: Enhancing the thermal emissivity of Earth through passive daytime radiative cooling (PDRC) has been proposed as an alternative or "third approach" to geoengineering that is "less intrusive" and more predictable or reversible than stratospheric aerosol injection.


title: Climate engineering

text: Ocean geoengineering involves adding material such as lime or iron to the ocean to affect its ability to support marine life and/or sequester . In 2021 the US National Academies of Sciences, Engineering, and Medicine (NASEM) requested $2.5 billion funds for research in the following decade, specifically including field tests.


title: Climate engineering

text: Enriching seawater with calcium hydroxide (lime) has been reported to lower ocean acidity, which reduces pressure on marine life such as oysters and absorb . The added lime raised the water's pH, capturing in the form of calcium bicarbonate or as carbonate deposited in mollusk shells. Lime is produced in volume for the cement industry. This was assessed in 2022 in an experiment in Apalachicola, Florida in an attempt to halt declining oyster populations. pH levels increased modestly, as was reduced by 70 ppm.


title: Climate engineering

text: A 2014 experiment added sodium hydroxide (lye) to part of Australia's Great Barrier Reef. It raised pH levels to nearly preindustrial levels.


title: Climate engineering

text: However, producing alkaline materials typically releases large amounts of , partially offsetting the sequestration. Alkaline additives become diluted and dispersed in one month, without durable effects, such that if necessary, the program could be ended without leaving long-term effects.


title: Climate engineering

text: Another 2022 experiment attempted to sequester carbon using giant kelp planted off the Namibian coast. Whilst this approach has been called "ocean geoengineering" it is just another form of carbon dioxide removal via sequestration.


title: Climate engineering

text: According to climate economist Gernot Wagner the term "geoengineering" is "largely an artefact and a result of the terms frequent use in popular discourse" and "so vague and all-encompassing as to have lost much meaning".


title: Climate engineering

text: Climate engineering may reduce the urgency of reducing carbon emissions, a form of moral hazard. However, several public opinion surveys and focus groups reported either desire to increase emission cuts in the presence of climate engineering, or of no effect. Other modelling work suggests that the prospect of climate engineering may in fact increase the likelihood of emissions reduction.


title: Climate engineering

text: If climate engineering can alter the climate then this raises questions whether humans have the right to deliberately change the climate, and under what conditions. For example, using climate engineering to stabilize temperatures is not the same as doing so to optimize the climate for some other purpose. Some religious traditions express views on the relationship between humans and their surroundings that encourage (to conduct responsible stewardship) or discourage (to avoid hubris) explicit actions to affect climate.


title: Climate engineering

text: Opponents offer several objections: Climate engineering could reduce pressure for emissions reductions, which could exacerbate overall climate risks. Also, most efforts have only temporary effects, requiring ever-increasing interventions which imply rapid rebound if they are not sustained. Others assert that the threat of climate engineering could spur emissions cuts.


title: Climate engineering

text: Some environmental organizations (such as Friends of the Earth and Greenpeace) have been reluctant to endorse or oppose solar geoengineering, but are often more supportive of nature-based carbon dioxide removal projects, such as afforestation and peatland restoration.


title: Climate engineering

text: Interventions at large scale run a greater risk of unintended disruptions of natural systems, resulting in a dilemma that they such disruptions might be more damaging than the climate damage that they offset.


title: Climate engineering

text: A large 2018 study used an online survey to investigate public perceptions of six climate engineering methods in the United States, United Kingdom, Australia, and New Zealand. Public awareness of climate engineering was low; less than a fifth of respondents reported prior knowledge. Perceptions of the six climate engineering methods proposed (three from the carbon dioxide removal group and three from the solar geoengineering group) were largely negative and frequently associated with attributes like 'risky', 'artificial' and 'unknown effects'. Carbon dioxide removal methods were preferred over solar geoengineering. Public perceptions were remarkably stable with only minor differences between the different countries in the surveys.


title: Climate engineering

text: Several organizations have investigated climate engineering with a view to evaluating its potential, including the US Congress, the US National Academy of Sciences, Engineering, and Medicine, the Royal Society, the UK Parliament, the Institution of Mechanical Engineers, and the Intergovernmental Panel on Climate Change. The IMechE report examined a small subset of proposed methods (air capture, urban albedo and algal-based capture techniques), and its main conclusions were that climate engineering should be researched and trialed at the small scale alongside a wider decarbonization of the economy.


title: Climate engineering

text: The Royal Society review examined a wide range of proposed climate engineering methods and evaluated them in terms of effectiveness, affordability, timeliness, and safety (assigning qualitative estimates in each assessment). The key recommendations reports were that "Parties to the UNFCCC should make increased efforts towards mitigating and adapting to climate change, and in particular to agreeing to global emissions reductions", and that "[nothing] now known about geoengineering options gives any reason to diminish these efforts". Nonetheless, the report also recommended that "research and development of climate engineering options should be undertaken to investigate whether low-risk methods can be made available if it becomes necessary to reduce the rate of warming this century".


title: Climate engineering

text: In 2009, a review examined the scientific plausibility of proposed methods rather than the practical considerations such as engineering feasibility or economic cost. The authors found that "[air] capture and storage shows the greatest potential, combined with afforestation, reforestation and bio-char production", and noted that "other suggestions that have received considerable media attention, in particular, "ocean pipes" appear to be ineffective". They concluded that "[climate] geoengineering is best considered as a potential complement to the mitigation of emissions, rather than as an alternative to it".


title: Climate engineering

text: In 2015, the US National Academy of Sciences, Engineering, and Medicine concluded a 21-month project to study the potential impacts, benefits, and costs of climate engineering. The differences between these two classes of climate engineering "led the committee to evaluate the two types of approaches separately in companion reports, a distinction it hopes carries over to future scientific and policy discussions." The resulting study titled "Climate Intervention" was released in February 2015 and consists of two volumes: "Reflecting Sunlight to Cool Earth" and "Carbon Dioxide Removal and Reliable Sequestration". According to their brief about the study:Climate intervention is no substitute for reductions in carbon dioxide emissions and adaptation efforts aimed at reducing the negative consequences of climate change. However, as our planet enters a period of changing climate never before experienced in recorded human history, interest is growing in the potential for deliberate intervention in the climate system to counter climate change... Carbon dioxide removal strategies address a key driver of climate change, but research is needed to fully assess if any of these technologies could be appropriate for large-scale deployment. Albedo modification strategies could rapidly cool the planet's surface but pose environmental and other risks that are not well understood and therefore should not be deployed at climate-altering scales; more research is needed to determine if albedo modification approaches could be viable in the future.


title: Sacrifice (The Weeknd song)

text: "Sacrifice" is a song by Canadian singer the Weeknd. It was released on January 7, 2022, through XO and Republic Records, as the second single from his fifth studio album "Dawn FM". The song was written by the Weeknd, Max Martin, Oscar Holter, Carl Nordström and Swedish House Mafia; with Kevin McCord receiving songwriting credits for the sampling of the 1981 track "I Want to Thank You", performed by Alicia Myers. Production was handled by the Weeknd, Martin, Holter and Swedish House Mafia. The song was also used as a theme song for WWE's WrestleMania 38.


title: Sacrifice (The Weeknd song)

text: At the end of the Weeknd's music video for "Dawn FM"'s lead single "Take My Breath", a snippet of "Sacrifice" is heard. It was released alongside its parent album on January 7, 2022, and was sent to American contemporary hit radio stations on January 11 as the second single from the album.


title: Sacrifice (The Weeknd song)

text: "Sacrifice" has been described by music critics as a post-disco and electro-funk track that details the Weeknd's hedonistic lifestyle.


title: Sacrifice (The Weeknd song)

text: Critics noted "Sacrifice" as being a standout track from the album, with the Weeknd's vocals and production being highlighted. Mankaprr Conteh from "Rolling Stone" compared the Weeknd's performance on the song to that of Michael Jackson's on his 1983 single "Wanna Be Startin' Somethin'" and his 1979 single "Don't Stop 'Til You Get Enough", putting emphasis on the similar sounding vocal melodies and guitar riffs. Heran Mamo of "Billboard" agreed, adding that the song is "the closest thing to a Michael Jackson record in the 21st century," claiming that it "resurrects the period-appropriate disco-funk". Mary Siroky in her review for "Consequence of Sound" highlighted that the song "is more of the irresistible fare for which The Weeknd has become known", praising his "wavy vocals" that "sound right at home here" and the production for being "bouncy and bright, making 'Sacrifice' stand out in an album packed with earworms."


title: Sacrifice (The Weeknd song)

text: The music video for "Sacrifice", directed by Cliqua, was released alongside the song and parent album on January 7, 2022. It begins with the Weeknd, who is dazed and confused, being brought towards a theoretical light at the end of a tunnel; while a snippet of "Dawn FM"'s title track, featuring narration by actor Jim Carrey, is played in the background. He then wakes up out of breath as a result of the events that occurred in the "Take My Breath" music video. As he tries to catch his breath, he is abducted by a hooded cult and tied to a wheel-like contraption to be used for a human sacrifice. As the cult members gather around him, a veiled female figure in a red cloak appears and takes his soul away. A series of psychedelic-hued visuals, strobe lighting and dance numbers are then showcased. The Weeknd is then seen singing into a microphone while holding the stand with metal gauntlets. As the sacrifice continues, his hands become horrifically scarred, with the red-cloaked female having stolen his youth. The cult members then disperse and the Weeknd tumbles out in a fading shot.


title: Ulysses (poem)

text: "Ulysses" is a poem in blank verse by the Victorian poet Alfred, Lord Tennyson (1809–1892), written in 1833 and published in 1842 in his well-received second volume of poetry. An oft-quoted poem, it is a popular example of the dramatic monologue. Facing old age, mythical hero Ulysses describes his discontent and restlessness upon returning to his kingdom, Ithaca, after his far-ranging travels. Despite his reunion with his wife Penelope and his son Telemachus, Ulysses yearns to explore again.


title: Ulysses (poem)

text: The character of Ulysses (in Greek, Odysseus) has been explored widely in literature. The adventures of Odysseus were first recorded in Homer's "Iliad" and "Odyssey" (c. 800–700 BC), and Tennyson draws on Homer's narrative in the poem. Most critics, however, find that Tennyson's Ulysses recalls Dante's Ulisse in his "Inferno" (c. 1320). In Dante's re-telling, Ulisse is condemned to hell among the false counsellors, both for his pursuit of knowledge beyond human bounds and for creating the deception of the Trojan horse.


title: Ulysses (poem)

text: For much of this poem's history, readers viewed Ulysses as resolute and heroic, admiring him for his determination "To strive, to seek, to find, and not to yield". The view that Tennyson intended a heroic character is supported by his statements about the poem, and by the events in his life—the death of his closest friend—that prompted him to write it. In the twentieth century, some new interpretations of "Ulysses" highlighted potential ironies in the poem. They argued, for example, that Ulysses wishes to selfishly abandon his kingdom and family, and they questioned more positive assessments of Ulysses' character by demonstrating how he resembles flawed protagonists in earlier literature.


title: Ulysses (poem)

text: As the poem begins, Ulysses has returned to his kingdom, Ithaca, having made a long journey home after fighting in the Trojan War. Confronted again by domestic life, Ulysses expresses his lack of contentment, including his indifference toward the "savage race" (line 4) whom he governs. Ulysses contrasts his present restlessness with his heroic past, and contemplates his old age and eventual death—"Life piled on life / Were all too little, and of one to me / Little remains" (24–26)—and longs for further experience and knowledge. His son Telemachus will inherit the throne that Ulysses finds burdensome. While Ulysses thinks that Telemachus will be a good king—"Most blameless is he, centred in the sphere / Of common duties" (39)—he seems to have lost any connection to his son—"He works his work, I mine" (43)—and the conventional methods of governing—"by slow prudence" and "through soft degrees" (36, 37). In the final section, Ulysses turns to his fellow mariners and calls on them to join him on another quest, making no guarantees as to their fate but attempting to conjure their heroic past:


title: Ulysses (poem)

text: The speaker's language is unelaborated but forceful, and it expresses Ulysses' conflicting moods as he searches for continuity between his past and future. There is often a marked contrast between the sentiment of Ulysses' words and the sounds that express them. For example, the poem's insistent iambic pentameter is often interrupted by spondees (metrical feet that consist of two long syllables); such laboured language slows the poem (and in other places may cast doubt upon the reliability of Ulysses' utterances):


title: Ulysses (poem)

text: Observing their burdensome prosodic effect, the poet Matthew Arnold remarked, "these three lines by themselves take up nearly as much time as a whole book of the "Iliad"." Many of the poem's clauses carry over into the following line; these enjambments emphasize Ulysses' restlessness and dissatisfaction.


title: Ulysses (poem)

text: The poem's seventy lines of blank verse are presented as a dramatic monologue. Scholars disagree on how Ulysses' speech functions in this format; it is not necessarily clear to whom Ulysses is speaking, if anyone, and from what location. Some see the verse turning from a soliloquy to a public address, as Ulysses seems to speak to himself in the first movement, then to turn to an audience as he introduces his son, and then to relocate to the seashore where he addresses his mariners. In this interpretation, the comparatively direct and honest language of the first movement is set against the more politically minded tone of the last two movements. For example, the second paragraph (33–43) about Telemachus, in which Ulysses muses again about domestic life, is a "revised version [of lines 1–5] for public consumption": a "savage race" is revised to a "rugged people".


title: Ulysses (poem)

text: The ironic interpretations of "Ulysses" may be the result of the modern tendency to consider the narrator of a dramatic monologue as necessarily "unreliable". According to critic Dwight Culler, the poem has been a victim of revisionist readings in which the reader expects to reconstruct the truth from a misleading narrator's accidental revelations. (Compare the more obvious use of this approach in Robert Browning's "My Last Duchess".) Culler himself views "Ulysses" as a dialectic in which the speaker weighs the virtues of a contemplative and an active approach to life; Ulysses moves through four emotional stages that are self-revelatory, not ironic: beginning with his rejection of the barren life to which he has returned in Ithaca, he then fondly recalls his heroic past, recognizes the validity of Telemachus' method of governing, and with these thoughts plans another journey.


title: Ulysses (poem)

text: Tennyson completed the poem on 20 October 1833, but it was not published until 1842, in his second collection of "Poems". Unlike many of Tennyson's other important poems, "Ulysses" was not revised after its publication.


title: Ulysses (poem)

text: Tennyson originally blocked out the poem in four paragraphs, broken before lines 6, 33 and 44. In this structure, the first and third paragraphs are thematically parallel, but may be read as interior and exterior monologues, respectively. However, the poem is often printed with the first paragraph break omitted.


title: Ulysses (poem)

text: Tennyson penned "Ulysses" after the death of his close Cambridge friend, the poet Arthur Henry Hallam (1811–1833), with whom Tennyson had a strong emotional bond. The two friends had spent much time discussing poetry and philosophy, writing verse, and travelling in southern France, the Pyrenees, and Germany. Tennyson considered Hallam destined for greatness, perhaps as a statesman.


title: Ulysses (poem)

text: When Tennyson heard on 1 October 1833 of his friend's death, he was living in Somersby, Lincolnshire, in cramped quarters with his mother and nine of his ten siblings. His father had died in 1831, requiring Tennyson to return home and take responsibility for the family. Tennyson's friends were becoming increasingly concerned about his mental and physical health during this time. The family had little income, and three of Tennyson's brothers were mentally ill. Just as Tennyson's outlook was improving—he was adjusting to his new domestic duties, regaining contact with friends, and had published his 1832 book of poems—the news of Hallam's death arrived. Tennyson shared his grief with his sister, Emily, who had been engaged to Hallam.


title: Ulysses (poem)

text: According to Victorian scholar Linda Hughes, the emotional gulf between the state of his domestic affairs and the loss of his special friendship informs the reading of "Ulysses"—particularly its treatment of domesticity. At one moment, Ulysses' discontent seems to mirror that of Tennyson, who would have been frustrated with managing the house in such a state of grief. At the next, Ulysses is determined to transcend his age and his environment by travelling again. It may be that Ulysses' determination to defy circumstance attracted Tennyson to the myth; he said that the poem "gave my feeling about the need of going forward and braving the struggle of life". On another occasion, the poet stated, "There is more about myself in "Ulysses", which was written under the sense of loss and that all had gone by, but that still life must be fought out to the end. It was more written with the feeling of his loss upon me than many poems in "In Memoriam"." Hallam's death influenced much of Tennyson's poetry, including perhaps his most highly regarded work, "In Memoriam A.H.H.", begun in 1833 and completed seventeen years later.


title: Ulysses (poem)

text: Other critics find stylistic incongruities between the poem and its author that make "Ulysses" exceptional. W. W. Robson writes, "Tennyson, the responsible social being, the admirably serious and 'committed' individual, is uttering strenuous sentiments in the accent of Tennyson the most un-strenuous, lonely and poignant of poets." He finds that Tennyson's two widely noted personae, the "responsible social being" and the melancholic poet, meet uniquely in "Ulysses", yet seem not to recognize each other within the text.


title: Ulysses (poem)

text: Tennyson adopts aspects of the Ulysses character and narrative from many sources; his treatment of Ulysses is the first modern account. The ancient Greek poet Homer introduced Ulysses (Odysseus in Greek), and many later poets took up the character, including Euripides, Horace, Dante, William Shakespeare, and Alexander Pope. Homer's "Odyssey" provides the poem's narrative background: in its eleventh book the prophet Tiresias foretells that Ulysses will return to Ithaca after a difficult voyage, then begin a new, mysterious voyage, and later die a peaceful, "unwarlike" death that comes vaguely "from the sea". At the conclusion of Tennyson's poem, his Ulysses is contemplating undertaking this new voyage.


title: Ulysses (poem)

text: Tennyson's character, however, is not the lover of public affairs seen in Homer's poems. Rather, "Ulisse" from Dante's "Inferno" is Tennyson's main source for the character, which has an important effect on the poem's interpretation. Ulisse recalls his voyage in the "Inferno"s 26th canto, in which he is condemned to the Eighth Circle of false counsellors for misusing his gift of reason. Dante treats Ulisse, with his "zeal …/ T'explore the world", as an evil counsellor who lusts for adventure at the expense of his family and his duties in Ithaca. Tennyson projects this zeal into Ulysses' unquenched desire for knowledge:


title: Ulysses (poem)

text: The poet's intention to recall the Homeric character remains evident in certain passages. "I am become a name" (11) recalls an episode in the "Odyssey" in which Demodocus sings about Odysseus' adventures in the king's presence, acknowledging his fame. With phrases such as "There gloom the dark broad seas" (45) and "The deep / Moans round with many voices" (55–56), Tennyson seems to be consciously invoking Homer.


title: Ulysses (poem)

text: Critics have also noted the influence of Shakespeare in two passages. In the early movement, the savage race "That hoard, and sleep, and feed, and know not me" (5) echoes Hamlet's soliloquy: "What is a man, / If his chief good and market of his time / Be but to sleep and feed? A beast, no more." Tennyson's "How dull it is to pause, to make an end, / To rust unburnish’d, not to shine in use!" (22–23) recalls Shakespeare's Ulysses in "Troilus and Cressida" (c. 1602):


title: Ulysses (poem)

text: The last movement of "Ulysses", which is among the most familiar passages in English poetry of the period, presents decisive evidence of the influence of Dante. Ulysses turns his attention from himself and his kingdom and speaks of ports, seas, and his mariners. The strains of discontent and weakness in old age remain throughout the poem, but Tennyson finally leaves Ulysses "To strive, to seek, to find, and not to yield" (70), recalling the Dantesque damnable desire for knowledge beyond all bounds. The words of Dante's character as he exhorts his men to the journey find parallel in those of Tennyson's Ulysses, who calls his men to join him on one last voyage. Quoting Dante's Ulisse:


title: Ulysses (poem)

text: Critics note, however, that in the Homeric narrative, Ulysses' original mariners are dead. A tension may therefore be found in Ulysses' speech to his sailors ("Come, my friends,/ 'Tis not too late to seek a newer world/ ..." [56–57]). Since Dante's Ulisse has already undertaken this voyage and recounts it in the "Inferno", Ulysses' entire monologue can be envisioned as his recollection while situated in Hell.


title: Ulysses (poem)

text: The degree to which Tennyson identifies with Ulysses has provided one of the great debates among scholars of the poem. Critics who find that Tennyson identifies with the speaker read Ulysses' speech "affirmatively", or without irony. Many other interpretations of the poem have developed from the argument that Tennyson does not identify with Ulysses, and further criticism has suggested that the purported inconsistencies in Ulysses' character are the fault of the poet himself.