History Theatre / Follies

1st May '16 5:25:47 AM TheOneWhoTropes
Is there an issue? Send a Message


* EnsembleDarkhorse: Carlotta Champion and "I'm Still Here".
1st May '16 5:25:04 AM TheOneWhoTropes
Is there an issue? Send a Message


* AlternateCharacterInterpretation: Phylis, especially after the UK rewrites replaced her "Loveland" number. The original states that Phylis is internally torn between a longing to be free and sexually desirable but poor and unloved (Juicy Lucy) or being rich and pampered and financially secured but emotionally dead due to being trapped in a loveless marriage (Dressy Jesse). The UK version of the play provides a completely different take on Phylis, one that is based upon the idea that Phylis has spent her entire life trying to be whatever it is her man wants her to be ("Ah But Underneath") and that her angst comes from knowing that, having spent her entire life being what everyone else wants her to be, that Phylis fears that she is a fraud and no one knew the real her, if there ever was a real Phylis beyond the facade she put on for those around her.
1st May '16 5:23:47 AM TheOneWhoTropes
Is there an issue? Send a Message


* ComeForTheXStayForTheY: Come for the homages/tributes to old vaudville routines and stay for music themed nervouse breakdowns of two troubled couples on the brink of madness.



* WagTheDirector:
** For the 1985 concert version, Mandy Patinkin asked to redo "The God Why Don't You Love Me Blues" song as a solo, even though the original version featured back-up singers for the characters Margie and Sally.
** Part of the reason for "Ah But Underneath" being created was to play to actress Diana Riggs' strength as a singer, as the actress had problems with her choreography for her character while doing the play.
11th Apr '16 8:35:38 PM MasoTey
Is there an issue? Send a Message


Follies is considered to be Sondheim's masterpiece, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set as planned. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.

to:

Follies is considered to be Sondheim's masterpiece, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop an AcclaimedFlop when it debuted in 1971, resulting in Capital Capitol Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set as planned. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one on rewriting the play to give it a much more upbeat tone and ending. ending.



* TheAce: Ben Stone is considered this though deep down he feels like a total and complete fraud



* ComeForXStayForY: Come for the homages/tributes to old vaudville routines and stay for music themed nervouse breakdowns of two troubled couples on the brink of madness.
* CoolOldLady: Hattie Walker, and Carlotta Champion. An argument can be made for Heidi Schiller, Stella Deems, and Solange as well, but {YMMV}.

to:

* ComeForXStayForY: BrokenAce: Ben Stone is regarded as TheAce, though deep down he feels like a total and complete fraud.
* ComeForTheXStayForTheY:
Come for the homages/tributes to old vaudville routines and stay for music themed nervouse breakdowns of two troubled couples on the brink of madness.
* CoolOldLady: Hattie Walker, and Carlotta Champion. An argument can be made for Heidi Schiller, Stella Deems, and Solange as well, but {YMMV}.YMMV.



* WagTheDirector: For the 1985 concert version, Mandy Patinkin asked to redo "The God Why Don't You Love Me Blues" song as a solo, even though the original version featured back-up singers for the characters Margie and Sally.

to:

* WagTheDirector: WagTheDirector:
**
For the 1985 concert version, Mandy Patinkin asked to redo "The God Why Don't You Love Me Blues" song as a solo, even though the original version featured back-up singers for the characters Margie and Sally.



* ToGoodToLast: The original Broadway run of "Follies".

to:

* ToGoodToLast: TooGoodToLast: The original Broadway run of "Follies".run.
8th Feb '16 5:17:12 AM Freshmeat
Is there an issue? Send a Message


Follies is considered to be Sondheim's MagnumOpus by many critics, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set as planned. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.

to:

Follies is considered to be Sondheim's MagnumOpus by many critics, masterpiece, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set as planned. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.



* MagnumOpus: For Sondheim
1st Nov '15 4:47:35 PM beack7
Is there an issue? Send a Message


* AlternateCharacterInterpretation: Phylis, especially after the UK rewrites replaced her "Loveland" number. The original states that Phylis is internally torn between a longing to be free and sexually desirable but poor and unloved (Juicy Lucy) or being rich and pampered and financially secured but emotionally dead due to being trapped in a loveless marriage (Dressy Jesse). The UK version of the play provides a completely different take on Phylis, one that is based upon the idea that Phylis has spent her entire life basically trying to be whatever it is her man wants her to be ("Ah But Underneath") and that her angst comes from knowing that, having spent her entire life being what everyone else wants her to be, that Phylis fears that she is a fraud and no one knew the real her, if there ever was a real Phylis beyond the facade she put on for those around her.

to:

* AlternateCharacterInterpretation: Phylis, especially after the UK rewrites replaced her "Loveland" number. The original states that Phylis is internally torn between a longing to be free and sexually desirable but poor and unloved (Juicy Lucy) or being rich and pampered and financially secured but emotionally dead due to being trapped in a loveless marriage (Dressy Jesse). The UK version of the play provides a completely different take on Phylis, one that is based upon the idea that Phylis has spent her entire life basically trying to be whatever it is her man wants her to be ("Ah But Underneath") and that her angst comes from knowing that, having spent her entire life being what everyone else wants her to be, that Phylis fears that she is a fraud and no one knew the real her, if there ever was a real Phylis beyond the facade she put on for those around her.



** 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 basically she refuses to give up hope that the two can reconcile.]]

to:

** 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 basically she refuses to give up hope that the two can reconcile.]]
9th Dec '14 8:02:47 AM butterflygrrl
Is there an issue? Send a Message


* DespairEventHorizon: The ending for [[spoiler: Sally; the original script and the 2011 revival event explicitly states that her final line is one, as far as stating that the line (and it's variation) "Oh Dear God; it it tomorrow" should be spoken in a manner totally and UTTERLY devoid of all hope).

to:

* DespairEventHorizon: The ending ending, for [[spoiler: Sally; Sally]] - the original script and the 2011 revival event explicitly states that her final line is one, as far as stating that the line (and it's its variation) "Oh Dear God; it it IS tomorrow" should be spoken in a manner totally and UTTERLY devoid of all hope).
26th Oct '14 12:21:22 PM MirrorNoir
Is there an issue? Send a Message


Follies is considered to be Sondheim's MagnumOpus by many critics, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.

to:

Follies is considered to be Sondheim's MagnumOpus by many critics, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set.set as planned. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.


Added DiffLines:

* AllThereInTheManual: The original LP of the soundtrack contained a detailed plot synopsis of the play.
26th Oct '14 12:19:32 PM MirrorNoir
Is there an issue? Send a Message


''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; and Ben is so self-absorbed that Phyllis feels emotionally abandoned. Several of the other former showgirls perform their old numbers, sometimes accompanied by the ghosts of their former selves.

to:

''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; and Ben is so self-absorbed that Phyllis a super-successful businessman turned philanthropist on the verge of a mid-life crisis inspired nervous breakdown; Phylis meanwhile feels emotionally abandoned.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.




Follies is considered to be Sondheim's MagnumOpus by many critics, though the play itself has had a long and bumpy road. The musical was a critical success but a commercial flop when it debuted in 1971, resulting in Capital Records releasing the soundtrack to the musical in a heavily butchered single LP release as opposed to the original two LP set. A full soundtrack would not resurface until 1985, when the entire score was performed live for a charity benefit by a star studded cast, which was released on CD (sadly the VHS and later DVD release focused mainly on the recording of the concert). The success of "Sunday In The Park With George" and "Into The Woods" gave Sondheim and Goldman the leverage to revive "Follies" in the UK in the late 1980s, where the play finally found commercial success. However, Goldman (who had long disliked the play's dark tone and downer ending) insisted one rewriting the play to give it a much more upbeat tone and ending.
Several short revivals followed (in 1998 and 2001) until 2011, when the play returned to Broadway and received a full-scale resurrection complete with a new two disk soundtrack which featured extended dialogue tracks to allow listeners to get the complete story.



* TheAce: Ben Stone thinks he's this, though he's really just a pretentious snob.
* AllLoveIsUnrequited: Buddy loves Sally, Sally loves Ben, Ben loves himself, and Phyllis loves no one.

to:

* TheAce: Ben Stone thinks he's this, is considered this though he's really just deep down he feels like a pretentious snob.
total and complete fraud
* AllLoveIsUnrequited: Buddy loves Sally, Sally loves Ben, who is obsessively in love with Ben loves himself, and Phyllis loves no one.(who does not love her).



* BettyAndVeronica: For Sally, Buddy as Betty and Ben as Veronica.

to:

* AlternateCharacterInterpretation: Phylis, especially after the UK rewrites replaced her "Loveland" number. The original states that Phylis is internally torn between a longing to be free and sexually desirable but poor and unloved (Juicy Lucy) or being rich and pampered and financially secured but emotionally dead due to being trapped in a loveless marriage (Dressy Jesse). The UK version of the play provides a completely different take on Phylis, one that is based upon the idea that Phylis has spent her entire life basically trying to be whatever it is her man wants her to be ("Ah But Underneath") and that her angst comes from knowing that, having spent her entire life being what everyone else wants her to be, that Phylis fears that she is a fraud and no one knew the real her, if there ever was a real Phylis beyond the facade she put on for those around her.
* BettyAndVeronica: For Sally, Buddy as Betty Sally/Phylis/Ben and Ben as Veronica.Sally/Buddy/Ben
* ComeForXStayForY: Come for the homages/tributes to old vaudville routines and stay for music themed nervouse breakdowns of two troubled couples on the brink of madness.



* [[spoiler: {{Downer Ending}}: The couples go home without solving any of their problems, promising to do it later. Then, young Buddy and young Ben call to their girls upstairs.]]

to:

* DependingOnTheWriter: The bulk of the changes to the play largely depend on how heavily John Goldman was involved in the production, as Goldman constantly tinkered and rewrote the play with every subsequent revival. However, since his death, the play has largely moved back towards the original version due to Sondheim's involvement in said revivals.
* DespairEventHorizon: The ending for
[[spoiler: {{Downer Ending}}: The couples go home without solving any of their problems, promising to do it later. Then, young Buddy Sally; the original script and young the 2011 revival event explicitly states that her final line is one, as far as stating that the line (and it's variation) "Oh Dear God; it it tomorrow" should be spoken in a manner totally and UTTERLY devoid of all hope).
* DownerEnding: [[spoiler: Sally ends the play with a DespairEventHorizon ending where she realizes that she's wasted her entire life longing for a man who never loved her.]]
** BittersweetEnding: [[spoiler:
Ben call has a nervous breakdown but Phylis manages to their girls upstairs.]]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 basically she refuses to give up hope that the two can reconcile.]]
* EnsembleDarkhorse: Carlotta Champion and "I'm Still Here".


Added DiffLines:

* 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.
* MagnumOpus: For Sondheim
* MultipleEndings: Various rewrites (initiated by John Goldman) have provided this for the play. The most notable is the UK version of Follies, which replaces Phylis and Ben's "Loveland" songs. Generally speaking, the changes tend to involve the tone of the ending as Goldman wanted the play to have a happy ending with the two couples reconciling at the end and provide hope that they will get their shit together in the end.


Added DiffLines:

* WagTheDirector: For the 1985 concert version, Mandy Patinkin asked to redo "The God Why Don't You Love Me Blues" song as a solo, even though the original version featured back-up singers for the characters Margie and Sally.
** Part of the reason for "Ah But Underneath" being created was to play to actress Diana Riggs' strength as a singer, as the actress had problems with her choreography for her character while doing the play.
* ToGoodToLast: The original Broadway run of "Follies".
4th Feb '13 5:37:55 PM Kif
Is there an issue? Send a Message


* TriumphantReprise: The piano part of "Beautiful Girls" comes back in "Loveland" with a full orchestra. [[Irony Though the situation it reappears in certainly isn't triumphant.]]

to:

* TriumphantReprise: The piano part of "Beautiful Girls" comes back in "Loveland" with a full orchestra. [[Irony [[{{Irony}} Though the situation it reappears in certainly isn't triumphant.]]
This list shows the last 10 events of 11. Show all.
http://tvtropes.org/pmwiki/article_history.php?article=Theatre.Follies