Review: FOLLIES at SF Playhouse

Director Bill English and his troupe of collaborators have waited three long years to present San Francisco's first fully staged, professional production of James Goldman and Stephen Sondheim's seven-time Tony Award winning musical. A tribute to musical styles from the first half of the 20th century, Follies is a charming delight of musical numbers wonderfully choreographed by Nicole Helfer, costumed by Abra Berman, and orchestrated by Dave Dobrusky.

This is a Sondheim piece and as such, much more than a musical revue. The dramatic arch tells the story of two couples brought together after decades to celebrate the closing of their beloved follies theatre, soon to become a parking lot. Over the course of the play, the foursome's marriages will be challenged, boundaries crossed, infidelities consummated. Choices made are questioned, regrets unearthed all beautifully staged in parallel time shifts between the glory days when the couples first met and their troubled present.

Bill English seamlessly shifts between these two universes presented onstage with two casts: the younger follies stars, the two beaus and the older versions of everyone wistfully nostalgic over faded glories. It's a large, hard-working ensemble that intersect effortlessly through dialogue, song and dance. And there are plenty of memorable moments interspersed throughout the two acts. While many of the numbers don't have the feel of later Sondheim material, its interesting to see his take on the vaudeville and follies styles (Sondheim referred to Follies as an orgy of pastiche).

There are several numbers by the supporting cast highlighting the aging former showgirls assembled for the finale party; "Ah, Paris!" sung by the Parisien Salange (Jill Slyter), Hattie's (Lucinda Hitchcock Cone) excellent rendition of "Broadway Baby," and Carlotta's (Cindy Goldfield) touching delivery of the Sondheim classic "I'm Still Here."

The four principals each get their share of showcase pieces and give solid performances. Maureen McVerry digs her teeth into the juicy role of Phyllis Rogers Stone, a bitter, jaded wife fully aware of her husbands philandering. When push comes to shove, she spits out her feminist rant in "Could I Leave You," a scathing contemplation on divorce.

Similarly, Sally Durant Plummer (three-time Helen Hayes Award winner Natascia Diaz) is married to her cheating husband Buddy and deeply in love with Phyllis' husband Ben. Trapped between her second choice husband and the idealized life Ben, she woefully sings "Losing My Mind".

Buddy Plummer (Anthony Rollins-Mullens), like each of the other three, is painfully aware of Sally's obsession. Cheating on her is his obligatory payback and in a comic vaudeville number he expresses his dilemma in "The-God-Why-Don't-You- Love-Me-Blues."

Ben Stone (Chris Vettel) is the most 'lost' character. Successful in business, he's hopelessly adrift in romance and self-esteem. In "The Road You Didn't Take" he sings of his regrets for choices made.

The four young leads deserve mention: Samantha Rose Cárdenas as Young Sally, Danielle Cheikin as Young Phyllis, Chachi Delgado as Young Buddy, and Cameron La Brie as Young Ben. The four can act, sing, and dance and represent the future of musical theatre. Louis Parnell plays promoter Dimitri Weismann, responsible for assembling the old cast for one last hurrah.

Follies is big, splashy, and full of Sondheim hits and themes of exploring rocky marriages and relationships. The SF Playhouse team under the direction of Bill English does it justice and perhaps even more - setting a high bar for any future productions.

Follies runs through September 10th, 2022.

Photo credit: Jessica Palopoli

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