History Theatre / Follies

6th May '18 11:39:02 PM mshetina
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* LostEpisode: Has never been recorded professionally and unlike Assassins, no full bootleg versions of the play in it's various forms exist. Moreso the 1985 concert performance video version was 70% behind the scenes material with the songs that were featured in said video, largely featured without any context as the numbers were performed outside the context of the story. Furthermore, soundtrack versions of the musical have largely been incomplete or missing dialogue that explains the various plots and songs. It was not until the 2011 version's soundtrack was released that "Follies" was released in a manner that was remotely complete. However now averted since The 2013 Toulon Production was screened on TV and the 2017 National Theatre Production was screened live to Cinemas.

to:

* LostEpisode: Has never been recorded filmed professionally and unlike Assassins, no full bootleg versions of the play in it's its various forms exist. Moreso the 1985 concert performance video version was 70% behind the scenes material with the songs that were featured in said video, largely featured without any context as the numbers were performed outside the context of the story. Furthermore, soundtrack versions of the musical have largely been incomplete or missing dialogue that explains the various plots and songs. It was not until the 2011 version's soundtrack was released that "Follies" was released in a manner that was remotely complete. However now averted since The 2013 Toulon Production was screened on TV and the 2017 National Theatre Production was screened live to Cinemas.
5th Mar '18 4:19:39 PM nombretomado
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''Follies'' is a musical with music and lyrics by {{Stephen Sondheim}} and a book by James Goldman. It follows two couples who go to a reunion of a Broadway theater where the "Weismann's Follies" were shown. The women, Sally Durant Plummer and Phyllis Rogers Stone, were performers who were courted by Buddy Plummer and Benjamin Stone, respectively, after one of their shows. Both couples are now deeply unhappy with their marriages. Buddy, a traveling salesman, is having an affair with a girl on the road; Sally is still as much in love with Ben as she was years ago; Ben is a super-successful businessman turned philanthropist on the verge of a mid-life crisis inspired nervous breakdown; Phylis meanwhile feels abandoned (emotionally and physically, due to his refusal to have children) by Ben and has turned cold outwardly towards her husband as a result. Several of the other former showgirls perform their old numbers, sometimes accompanied by the ghosts of their former selves.

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''Follies'' is a musical with music and lyrics by {{Stephen Music/{{Stephen Sondheim}} and a book by James Goldman. It follows two couples who go to a reunion of a Broadway theater where the "Weismann's Follies" were shown. The women, Sally Durant Plummer and Phyllis Rogers Stone, were performers who were courted by Buddy Plummer and Benjamin Stone, respectively, after one of their shows. Both couples are now deeply unhappy with their marriages. Buddy, a traveling salesman, is having an affair with a girl on the road; Sally is still as much in love with Ben as she was years ago; Ben is a super-successful businessman turned philanthropist on the verge of a mid-life crisis inspired nervous breakdown; Phylis meanwhile feels abandoned (emotionally and physically, due to his refusal to have children) by Ben and has turned cold outwardly towards her husband as a result. Several of the other former showgirls perform their old numbers, sometimes accompanied by the ghosts of their former selves.
5th Mar '18 2:20:14 PM e-mlodik
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** BittersweetEnding: [[spoiler: Ben has a nervous breakdown but Phylis manages to survive her trip through "Loveland" for the better having reconciled her issues and takes Ben back. Later rewrites of the play by Goldman include additional dialogue for Ben, where he flat out states that he was a jerk to Phylis because he always assumed she never loved Ben for Ben and only his money; Phylis takes Ben back and admits that marriage his hard and she refuses to give up hope that the two can reconcile.]]

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** BittersweetEnding: [[spoiler: Ben has a nervous breakdown but Phylis manages to survive her trip through "Loveland" for the better having reconciled her issues and takes Ben back. Later rewrites of the play by Goldman include additional dialogue for Ben, where he flat out states that he was a jerk to Phylis because he always assumed she never loved Ben for Ben and only his money; Phylis takes Ben back and admits that marriage his is hard and she refuses to give up hope that the two can reconcile.]]
6th Dec '17 12:02:33 PM RitzyMandrill
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* LostEpisode: Has never been recorded professionally and unlike Assassins, no full bootleg versions of the play in it's various forms exist. Moreso the 1985 concert performance video version was 70% behind the scenes material with the songs that were featured in said video, largely featured without any context as the numbers were performed outside the context of the story. Furthermore, soundtrack versions of the musical have largely been incomplete or missing dialogue that explains the various plots and songs. It was not until the 2011 version's soundtrack was released that "Follies" was released in a manner that was remotely complete.

to:

* LostEpisode: Has never been recorded professionally and unlike Assassins, no full bootleg versions of the play in it's various forms exist. Moreso the 1985 concert performance video version was 70% behind the scenes material with the songs that were featured in said video, largely featured without any context as the numbers were performed outside the context of the story. Furthermore, soundtrack versions of the musical have largely been incomplete or missing dialogue that explains the various plots and songs. It was not until the 2011 version's soundtrack was released that "Follies" was released in a manner that was remotely complete. However now averted since The 2013 Toulon Production was screened on TV and the 2017 National Theatre Production was screened live to Cinemas.
26th Nov '17 9:05:33 AM SeptimusHeap
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* CutSong: "All Things Bright and Beautiful" (used in the prologue), "Can That Boy Foxtrot!" 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" have been incorporated into various productions. Also {{In-Universe}}, Carlotta's song was cut from the show because it got laughs [[{{Narm}} despite being a sad song]].

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* CutSong: "All Things Bright and Beautiful" (used in the prologue), "Can That Boy Foxtrot!" 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" have been incorporated into various productions. Also {{In-Universe}}, InUniverse, Carlotta's song was cut from the show because it got laughs [[{{Narm}} despite being a sad song]].
21st Nov '17 6:36:41 PM nombretomado
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* {{Pastiche}}: "Rain on the Roof" is a pastiche of novelty songs, "The-God-Why-Don't-You-Love-Me-Blues" is a vaudeville/{{Patter Song}} pastiche, and "Broadway Baby" is a pastiche of optimistic songs of the 1920s, like "The Best Things in Life are Free". "Who's That Woman?" is in the style of {{Cole Porter}}'s lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Music/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.

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* {{Pastiche}}: "Rain on the Roof" is a pastiche of novelty songs, "The-God-Why-Don't-You-Love-Me-Blues" is a vaudeville/{{Patter Song}} pastiche, and "Broadway Baby" is a pastiche of optimistic songs of the 1920s, like "The Best Things in Life are Free". "Who's That Woman?" is in the style of {{Cole Porter}}'s Music/ColePorter's lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Music/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.
4th Aug '17 1:26:07 AM PaulA
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Added DiffLines:

* DoubleMeaningTitle: Refers to both the Follies that the characters performed in, and the follies that they have committed.


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* ThatRemindsMeOfASong: Used dramatically; half the songs are numbers that the women used to sing in their days in the Follies, but are used to point up the melancholy of the story.


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* WhiteDwarfStarlet: Half the cast of ''Follies'', a show which does a little examining of this very phenomenon.
4th Aug '17 1:12:43 AM PaulA
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* InTheStyleOf: The musical makes the most of this trope. "Who's That Woman?" is in the style of {{Cole Porter}}'s lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Music/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.



* MusicalPastiche: "Rain on the Roof" is a pastiche of novelty songs, "The-God-Why-Don't-You-Love-Me-Blues" is a vaudeville/{{Patter Song}} pastiche, and "Broadway Baby" is a pastiche of optimistic songs of the 1920s, like "The Best Things in Life are Free."


Added DiffLines:

* {{Pastiche}}: "Rain on the Roof" is a pastiche of novelty songs, "The-God-Why-Don't-You-Love-Me-Blues" is a vaudeville/{{Patter Song}} pastiche, and "Broadway Baby" is a pastiche of optimistic songs of the 1920s, like "The Best Things in Life are Free". "Who's That Woman?" is in the style of {{Cole Porter}}'s lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Music/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.
14th Apr '17 11:01:39 AM Malady
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Added DiffLines:

* OneWordTitle
4th Feb '17 9:44:19 PM Xtifr
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* InTheStyleOf: The musical makes the most of this trope. "Who's That Woman?" is in the style of {{Cole Porter}}'s lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Creator/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.

to:

* InTheStyleOf: The musical makes the most of this trope. "Who's That Woman?" is in the style of {{Cole Porter}}'s lyrics and Richard Rodger's music, "Losing My Mind" is in the style of Creator/GeorgeGershwin's Music/GeorgeGershwin's "The Man I Love," "I'm Still Here" is in the style of Harold Arlen, "One More Kiss" is in the style of Sigmund Romberg and Rudolf Fiml, "You're Gonna Love Tomorrow" is in the style of Jerome Kern, "The Story of Lucy and Jessie" is in the style of Cole Porter and Yip Harburg, "Live, Laugh, Love" is in the style of Fred Astaire, "Ah, Paris" is fully in the style of Cole Porter and "Loveland" is, of course, in the style of the Ziegfeld Follies.
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