History Theatre / 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.
4th Feb '17 9:42:03 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 {{George Gershwin}}'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 {{George Gershwin}}'s 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.
1st May '16 5:25:47 AM TheOneWhoTropes
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* EnsembleDarkhorse: Carlotta Champion and "I'm Still Here".
1st May '16 5:25:04 AM TheOneWhoTropes
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* 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
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* 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
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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
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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
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* 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
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* 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).
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http://tvtropes.org/pmwiki/article_history.php?article=Theatre.Follies