07 September 2017
Follies
The National Theatre
Reviewed by Adam McCormack
Star rating: *****
Delivered by a cast that exudes talent, Follies should leave theatre-goers in no doubt that Stephen Sondheim is the finest musical lyricist of his, or perhaps any generation. His ability to deliver pathos and plot, yet still including humour and satire to rival Tom Lehrer is unparalleled. Put into the hands of a cast that includes the likes of Imelda Staunton and Janie Dee at the top of their game, and directed imaginatively by Dominic Cooke, Follies is sure-fire huge hit for the National.
There are so many things to celebrate about this production, with one of the most notable being that it provides a great vehicle for a large number of middle-aged women – and boy, do they deliver. Set in 1971 at a reunion party of between-the-wars showgirls, Follies tells the story of 2 couples who have struggled to come to terms with lost love, and what might have been. Ben (Philip Quast) is a successful businessman and politician trapped in an apparently loveless marriage to Phyllis (Janie Dee), while Sally (Imelda Staunton) his lover of 30 years earlier seems desperate to rekindle their relationship, although her husband, Buddy (Forbes) professes to be besotted with her despite having a mistress. The four interact almost as they did in the 1940’s, which is exquisitely represented by having the counterpoint of their younger selves singing and dancing with them.
The numbers delivered by the main protagonists are tremendous, most notably Dee’s “The Story of Lucy and Jessie” and Staunton’s haunting “Losing my mind”. But the other former showgirls also perform songs that go way beyond just vignettes. “Who’s that girl?’ for example, involves the whole female cast and works on so many levels. The girls reassemble for an impromptu performance of their showstopper from 30 years earlier. Ostensibly this is a song about discovering identity and potential, but performed in retrospect it becomes much more about what they were and could have become, and has an almost painful poignancy. As beautifully controlled tap by the middle-aged women is overtaken by their younger selves we get the addition of a supreme example of musical spectacle. Similarly, Tracey Bennett’s performance of “I’m still here” could be the basis of a musical on its own, Di Botcher’s Ethel Merman-like rendition of “Broadway Baby” leaves us wanting to hear much more from her, and Dame Josephine Barstow (53 years an opera singer) is spellbinding in a duet with her younger self played by Anouska Eaton.
Follies is perhaps the biggest production the National has attempted, at least in terms of orchestra and cast, and the investment is more than justified. As ever with Sondheim, you may not come out of the theatre humming the tunes, but you will struggle to find a better evening’s entertainment.
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