In a towering achievement, Victorian Opera lavishes high production values, sumptuous orchestra, and a peerless cast on revered Stephen Sondheim musical Follies.
Touted as the first professional fully staged production of Follies in Australia, Victorian Opera certainly delivers on this, filling the mighty stage of the 2500+ seat Palais Theatre, with 31 in the cast and 34 musicians in the pit. With only five performances over an all too brief six-day season, the level of creativity, care, and sheer talent is quite extraordinary.
An early concept musical that broke the Golden Age mould, Follies unfolds on a single evening, where past showgirls of the Weismann Follies reunite before their theatre is ignominiously torn down. Haunted by showgirls past, the party guests perform their classic numbers while a core group of four characters reflect on the follies of their youth.
In a particularly cherished score, Sondheim delivers not just highly emotive, psychologically rich solos and duets but also a delightful set of pastiche numbers from the follies of old. James Goldman’s book weaves dry humour and poignant reminiscences with a relatively unstinting reflection on the ravages of age.
Music director Phoebe Briggs helms a meticulously prepared performance of the melodious score by Orchestra Victoria, impressing particularly with delicate dynamics for the abundant underscoring. Briggs also proves a good sport by interacting with the stage characters as though she is the conductor of the reunion party band.
Director Stuart Maunder clearly knows Follies inside out, delivering an expertly realised performance from the full company. Snippets of guest interactions at the reunion flow cleanly and smoothly, with gradual sharper focus on the two key couples building interest and engagement, and culminating in a powerful finale as the realism gives way to the heady fantasia of the Loveland sequence.
Choreographer Yvette Lee works with a strong ensemble to create terrific dance sequences performed with well drilled precision and abundant flair. Moments for the inveterate showgirls are a delight, with company number “Who’s That Woman?” a memorable highlight.
Prolific designer Roger Kirk puts every dollar of the production budget on view, crafting a grand staging that is a joy to behold. A rear broken brick wall and full scaffolding create the decrepit stage, and the transformation to Loveland sees this all disappear behind gauzy curtains adorned with ivy motifs.
Kirk’s costumes are a treasure in their own right, with highlights almost too numerous to mention. A standout moment is the reveal of the “ghost” showgirls in mirror-studded outfits for “Who’s That Woman?”. The divergence of fortunes is clearly reflected in the chic appearance of Phyllis contrasted with the folksy effort of Sally. Loveland delivers full sets of new costumes, with the showgirls sporting eye-popping coloured creations after gliding about in ghostly silver for the rest of the night.
Gavan Swift’s lighting design creates atmosphere from the beginning, with the bedraggled effect of the old torn show cloth also projected onto the auditorium walls. Swift efficiently draws the eye across the seemingly vast stage as the story progresses. Showy scenes dazzle, in particular the rich oranges and reds for Phyllis’ Folly, “The Story of Lucy and Jessie.”
Sound designer Sam Moxham delivers a natural, well-balanced sound, although vocals become harder to distinguish when more than two singers perform at once.
The core four are in exceptionally strong hands with Antoinette Halloran and Alexander Lewis as Sally and Buddy Plummer, and Marina Prior and Adam Murphy as Phyllis and Benjamin Stone.
Subtly giddy from the outset, Halloran craftily keeps the audience guessing at Sally’s stability and focus. Halloran sings solos such as “In Buddy’s Eyes” with ravishing tone, absolutely breaking hearts with iconic torch song “Losing My Mind.”
Lewis fills shoddy husband Buddy with an abundance of self-deprecating verve, earning keen sympathy with a bubbling undercurrent of vulnerability. Lewis channels the full vaudevillian showman with Buddy’s Folly, ”The God-Why-Don’t-You-Love-Me Blues”.
In peak form, Prior absolutely glows as weary socialite Phyllis, balancing withering zingers with heart rending lovelorn pain. Prior dazzles, along with the male ensemble, in a fabulous performance of “The Story of Lucy and Jessie.”
A highly capable singing actor, Murphy imbues Ben with an initial unflappable charm that soon devolves to show the man’s fragile core and defensive cruelty. As Sally and Ben reflect on missing each other for “Too Many Mornings,” Murphy enjoys strong chemistry with Halloran, singing with his sumptuous baritone.
Replacing an injured Geraldine Turner, Anne Wood makes for a superb Carlotta Campion, delivering a galvanising rendition of “I’m Still Here” with finely calibrated nuance. Rhonda Burchmore is in her element as tap-happy Stella Deems.
Geraldene Morrow is an absolute joy as dear Hattie Walker, thrilling the audience with “Broadway Baby.” Colette Mann charms as Emily Whitman, ably supported by Tom Blair as Theodoe Whitman for “Rain on the Roof.” Evelyn Krape oozes personality as Solange La Fitte, characterfully crooning “Ah, Paris!”.
A glorious act two highlight comes with the return to the spotlight of Heidi Schiller, with Merlyn Quaife giving a deeply moving rendition of mock-Viennese waltz “One More Kiss,” more than capably supported by Nina Korbe as Young Heidi.
Doing deceptively important work as the ghosts of the core four, impressive work all round is enjoyed from Young Phyllis (Taao Buchanan), Young Sally (Mia Simonette), Young Ben (Jack Van Staveran), and Young Buddy (Jacob Steen).
No self-respecting lover of musical theatre will be in need of any encouragement to attend a production of Follies. This review serves simply to confirm and celebrate the wonderful talent on show and create further anticipation for lucky ticket holders in this coming week.
Follies plays at Palais Theatre, Melbourne until 6 February 2025. For tickets, click here.
The Follies program can be read online.
Photos: Jeff Busby