Talk:Follies

message: Added section breaks, list of musical numbers, added some info in the synopsis, and a little bit of adjustment here and there for readability and style. --Urbane legend 12:55, 18 January 2006 (UTC)
thread_title: 18Jan06 revision

message: Maybe it would be good to say what all the songs are a pastiche of?  00:10, 19 February 2006 (UTC)
thread_title: Pastiche

message: What version of the show is the song list from? It lists one of the songs added for the eighties London revival ("Ah But Underneath") but not another ("Country House"). I think it would be nice to have a table showing the additions and deletions in the score in the various revivals--but I don't know enough to make one! Dybryd 23:58, 12 July 2006 (UTC)
replies: text: I'm not too sure what all the changes were for the 87 version either, but the list as given apart from "Ah But Underneath" would appear to be the original. So I've just added the original number "The Story Of Lucy And Jessie" that it replaced, with a brief note. In the two productions I've seen (London 2002, and Northampton 2006 they went back to the original book with Lucy And Jessie as Phyllis's big number) Hope that helps Skekayuk 22:07, 21 November 2006 (UTC)

text: The 2007 City Center Encores program lists "Bolero d'Amour", a dance break, following "The Road You Didn't Take".  I don't know the show well enough to know if this was an old cut or a new interpolation.Stagehand 00:04, 19 February 2007 (UTC)
thread_title: Song List? Which version?

message: I had always understood that Goldman did not revisit the book until Cameron Mackintosh came to him and Sondheim about reviving the show in the mid-1980s, and that Mackintosh suggested he look at the book again. That production, which I saw in London in 1988, took such a different tack from the original (which I did not see, alas, being about 14 or 15 at the time) that many people were rather baffled at it. (I for one thought the idea of having the current versions of the leads interact with their younger selves was not a good one.)
I also wonder if the show is not only about contradictions but is itself a contradiction, at least in its production history. I gather that the original production was so jaw-dropping, so amazing and wonderful, that no production after can come close and is therefore doomed to failure in the minds of some, just like the characters seem to be, and just as the plot goes--the past is always better than the present. Then again, the OC recording was so butchered (contradicting the iconic status of the production itself) that succeeding producers may have felt they could do what they wished with the show. I dunno...it's a fascinating creature, Follies, and if it may not equal Candide in the complexity of its existence, it probably comes close. --Wspencer11 (talk to me...) 14:30, 25 August 2006 (UTC)
thread_title:  Revisions to the show 

message: Having seen the original 1971 production seven times, I can honestly say that it WAS the greatest production of a musical I have ever seen in forty-five years of theatregoing.  Unfortunately, its revivals have not lived up to the quality and intelligence of that original production, therefore it is hard to view the show itself as one of the all-time greats.  I always use the example that elementary school girls in crepe hair beards could pull off a satisying production of Fiddler on the Roof because the material is so good, whereas none (or at least few) of the revivals of Follies have been entirely satisfying even to people who don't know and love the original production.  I suspect that few musicals since Billy Rose's Jumbo (the Hippodrome production, not the movie) have been so dependent on their original production for their reputation.  Personally, I prefer to say that She Loves Me is the best written musical and Follies was the best production, but everyone has their own favorites.
I do, however, have two comments about the article as it now reads.  There seems to be an over-emphasis on who plays Carlotta, listing her first for several productions.  Carol Burnett was not the "star" of the Lincoln Center production, with Barbara Cook and Leigh Remick taking supporting roles.  I think the four leads are more important, listing-wise.  Also, I think Hal Prince should be changed to Harold Prince. That's his professional name and the way he is billed in the credits.  We don't have "Steve" Sondheim or "Jim" Goldman, so why "Hal" Prince.  I'd make the change myself, but the article is so well-written, I'd prefer to leave it to the "powers-that-be," whomever they are.  (Considering my passion for the show, this is high praise, indeed, for the article.) 65.217.153.100 (talk) 15:03, 16 April 2008 (UTC)
replies: text: I'm not the "powers that be", but I agree with your comments (especially the order of showing the 1985 principals, and the 1972 production). Hope I've done justice to what you were thinking, jump in if you'd like. JeanColumbia (talk) 16:39, 16 April 2008 (UTC)
thread_title: My Two Cents

message: So does the synopsis as it stands cover the 1971 book, or the 1987 one, or some conflation of the two, or something else entirely? It's not at all clear from the article, and given the changes the book has endured over time I think this ought to be addressed somehow. --Wspencer11 (talk to me...) 14:56, 10 November 2010 (UTC)
thread_title:  Plot synopsis 

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thread_title:  External links modified