I was errant and truant yesterday evening, Dear Readers, as I travelled down to Orange County to catch a presentation of Mr. Stephen Sondheim's Follies. This production was mounted by the California Conservatory of the Arts, an eighteen month old organization devoted to training young adults (grades 6-12) in the areas of Dance, Film, Musical Theatre and several other allied arts.
Last night's show was the Conservatory's public debut presentation. The event was originally planned as a concert version of Follies, with piano accompaniment, directed by faculty member Miss Teri Ralston. Ambition (and someone's deep pockets, apparently) took over, and the event evolved into a fully staged production, with a 20-piece orchestra and several of Miss Ralston's friends in the adult parts.
The evening began with Mr. John Raitt being awarded an honorary plaque from the city of Santa Ana (of which he is a native) announcing that, in honor of his efforts to bring musical education and enjoyment to children and adults around the world, January 29 was officially John Raitt Day in the city of Santa Ana. The audience was then prompted to sing "Happy Birthday," as yesterday also happened to be Mr. Raitt's 87th birthday. Though he still has his dashing good looks and head of snowy white hair, Mr. Raitt did appear to be somewhat unsteady on his feet.
Then on to the show. As far as I can tell, except for some trims to the Loveland sequence introduction, this was a complete Follies.
Mr. Raitt "played" Dmitri Weismann. That is, he delivered his lines from behind a podium, reading them from the script in front of him. (Everyone else was off-book and freer to move around the stage.)
Miss Ralston did a fine job as Sally, and was quite effective in "Losing My Mind." Miss Stephanie Zimbalist presented a Phyllis that was more glib than icy. She struggled with some of the music, but handled her lines with aplomb. ("The Story of Lucy and Jessie" was used as Phyllis' Folly.) Kurt Peterson, who played Young Ben in the original production of Follies, was Ben in this production, and was rather subdued in both the vocal and acting departments. His big emotional moments did not come across very credibly. Harvey Evans, who played Young Buddy in the original production of Follies, completely filled the role of Buddy last night. His and Miss Ralston's performances were the most well-rounded of the evening.
With her shock of bright red hair and wad of chewing gum in her mouth, Miss Beth Hansen provided a loud, wisecracking Stella as she led the ensemble in "Who's That Woman?" Miss Molly Melachouris sang a very touching "One More Kiss," joined by a very sweet voiced Young Heidi played by one of the young members of the Conservatory. Miss Jonelle Allen apparently subscribes to the notion that playing broader is better; I thought her Solange was embarrassing. Worse, she insisted on singing "Ah Paris!" either ahead of or behind the beat but never, ever with it. I feared a trainwreck, but an astute (and uncredited) conductor saved the day. Completely charming as Hattie was Miss Betty Garrett, though I would have liked to have heard a little bit more oomph in her "Broadway Baby."
Miss Julie Wilson was cast as Carlotta. Thin as a rail and extremely frail looking, Miss Wilson took a pass on the descent down the stairway during "Beautiful Girls," and always had someone at her arm as she moved about the stage. That is, until she was left alone at the footlights for her big number. Miss Wilson found her energy at that moment, Dear Readers, and put it to memorable use. She bit off "I'm Still Here" whole, chewed it up but good, and spat out the most thrillingly proud and defiant rendition of the song I have ever heard. It deservedly earned the biggest ovation of the evening.
Roscoe and all the younger versions of the adult characters were taken by members of the Conservatory, and they all turned in admirable performances.
There was a simple unit set with the obligatory staircase stage center. Constrained, no doubt, by brief rehearsal time and the terpsichorean limitations of the older players, the less said about the ensemble choreography, the better. "Bolero D'Amour," however, was pleasantly danced by the two couples. Costuming was effective, with several young Weisman Girls dressed in Erte-like creations appearing during the opening of the show. Strangely (at least to my eye), the ensemble was done up in 18th century court costume and wigs for the opening of the Loveland sequence.
A polished Broadway-ready Follies? Hardly. Good to hear Sondheim's score in a live presentation? Of course. An enjoyable evening in the theatre with some memorable moments? Yewbetcha.
