POQUOSON ISLAND PLAYERS' TALENTED CAST
PRESENTS FIRST-RATE FOLLIES

Theater Babe Says:  Go and Enjoy a Notable Production of Classic Sondheim

It is always with trepidation that the Theater Babe approaches any community theater production of a Stephen Sondheim show – any Sondheim show, really, but particularly his earlier works where he experimented with books that are driven by the characters rather than by the story, and the emotion emerges primarily from complicated, often dissonant, melodies requiring excellent pitch and lyrics that depend on the performer's crystal-clear diction.  Done well, Sondheim's music is transcendent.  Done poorly, one would be better off chained to a chair compelled to hear those proverbial nails streaking down a chalkboard.

In Poquoson Island Players' production of Follies, director Brandon Lyles and musical director Jeff Joyner have assembled a gifted cast who for the most part display all that is glorious about a Sondheim musical:  clever lyrics and diametric interlocking musical parts all tied together with sophistication, wit and a dark realism.

Follies takes place in 1971, on the stage of the Weissman Theater which for decades had been the home of the Weissman Follies. The theater is scheduled for demolition, so Dimitri Weissman (Bill Hogge) hosts a reunion for the former showgirls before the building is razed. Unfortunately, much of the set-up is presented during the long opening scene in which much of the dialogue is drowned out by the onstage instrumentalists. Although Mr. Joyner on the piano and Jason Kriner on the trumpet are both accomplished musicians and the background music is enjoyable, it too frequently takes precedence over the actors' spoken lines with the result that the exposition provided by the dialogue is lost.

Throughout the show, the party attendees are periodically shadowed by the ghosts of their younger selves. At various times, the current action triggers a memory, played on a different part of the stage by younger actors.  Mr. Lyles did an excellent job of pairing the actors playing the same character at different ages.  Where there are slight discrepancies such as a height differential, it plays wonderfully as if the "old" actor is remembering an idealized version of herself.

Nowhere is that juxtaposition more striking than in the showstopping number, "Who's That Woman?" brilliantly led by Kim Vernall as Stella. Ms. Vernall's pitch and delivery are spot on and the energy of the ensemble and the charming choreography by Rebekah Hipple that intertwines the characters with their younger selves made it one of the show's most memorable moments. 

The story focuses primarily upon two of the former showgirls, Phyllis and Sally, and their husbands, Ben and Buddy, as they reminisce and ruminate upon marriage, infidelities, and might-have-beens.  Scott Root, as Ben, possesses a marvelous, rich baritone that is displayed to advantage during his musical soliloquy, "The Road You Didn't Take." Although Mr. Root arguably has the best voice in the show, he demonstrates admirable restraint when singing with the other characters so he does not overpower them but rather creates a harmonic blend. When he sings "Waiting for the Girls Upstairs," with Buddy, played by Neil Hollands, his strong tone merges with Mr. Hollands' pleasing if weaker one to excellent effect.  "Too Many Mornings," Mr. Root's duet with Sally, played here by Tammy Gandolfo, is wistful and beautiful.

Carole-Sue Fiest is believably bitter as Ben's wife, Phyllis.  Her musical diatribe, "Could I Leave You?" is passionate, relentless and powerful.  Ms. Fiest and Mr. Root create a credibly convoluted relationship, portrayed by each as dissatisfying yet essential.  Because of that underlying connection, their ending scene is poignant and honest.

Sally's relationship with Buddy suffers by comparison.  There is little chemistry generated between Ms. Gandolfo and Mr. Hollands so Mr. Hollands is faced with the difficult chore of convincing us that he actually loves his wife enough to be jealous of her ongoing attraction to Ben.  Because we do not sense a bond between Sally and Buddy, "The God-Why-Don't-You-Love-Me Blues" does not ring true, and the frenetic choreography of that number does not help Mr. Hollands -- all too often it leaves him breathless and unable to articulately render the tongue-twisting patter. Although the script describes Buddy as "appealing, lively and outgoing," Mr. Hollands' interpretation presents the character more like a musicalized Willie Loman.  It mostly works – and the unusual interpretation makes Buddy a more introspective, if less charming, character – but it removes context from the vaudeville-like "Blues" and that disconnect prevents the number from attaining showstopper status.  Mr. Hollands has a pleasing quality to his singing voice that is best demonstrated during the lyrical parts of "The Right Girl," and the Theater Babe would welcome the opportunity to hear him perform a role that capitalizes on that strength.

As Sally, Ms. Gandolfo is both lovable and sweetly pathetic.  Ms. Gandolfo has a pretty singing voice, but it was occasionally overwhelmed by the accompaniment, particularly during her earlier numbers.  Her best moment is unquestionably her exquisitely understated rendition of "Losing My Mind" in the second act.

Jeremy Bustin as Young Ben, Stephen Maney as Young Buddy, Caitlin Burke as Young Phyllis and Sarah Friday-Wall as Young Sally are uniformly engaging and successfully capture the optimism and enthusiasm that have morphed into the cynicism and apathy of their older counterparts. Ms. Burke, Mr. Bustin, Ms. Friday-Wall and Mr. Maney each individually has a strong, melodious voice and as a quartet they have a good blend.  Mr. Bustin in particular gives a fine dramatic performance.  Initially appearing as nothing more than a happy young man content to be "Waiting for the Girls," Mr. Bustin subtly reveals the duplicity of his character, and it is in his performance as Young Ben that we most easily see the seeds of the embittered, somewhat regretful older Ben portrayed by Mr. Root.

The other young Follies girls, Amanda Colwell, Dorothy Douglas, Megan Gerth, Rebekah Hipple and Dara Sherman do an excellent job of consistently maintaining their Ziegfeld showgirl posture and mannerisms as they strut across the stage.  As Young Heidi, Ms. Sherman displays a gorgeous voice with a pure pitch that floats across the stratospheric notes of "One More Kiss."  Jane Martin is perfectly cast as Heidi.

Marcia Dadds gives a superb performance as Carlotta, and her humorous, tongue-in-cheek rendition of "I'm Still Here" is one of the show's highlights.  Other noteworthy cameo moments include Jeff Joyner leading "Beautiful Girls," and Terry Rosales Taylor's presentation of "Ah, Paris!"  Debbie Kendall and Ron Milovac as Emily and Theodore Whitman give a lively performance of the deceptively simple "Rain on the Roof."

The standout performance by an actor in a supporting role, however, belongs to Betsy Forrest's portrayal of Hattie, a perhaps-more-than-middle-aged chorus girl.  Ms. Forrest possesses a singing voice that women half her age could envy, and she takes the well-known (and some might say shopworn) "Broadway Baby" and knocks it out of the park.  Her extraordinary performance alone is worth the admission fee.  The Theater Babe is only sorry that we were not given the opportunity to reward Ms. Forrest – as well as Ms. Vernall, Ms. Sherman, Ms. Martin, Ms. Dadds, Mr. Joyner, Ms. Taylor, Ms. Kendall and Mr. Milovac – during the curtain call, since they simply bowed with the rest of the ensemble.  They deserve at least a collective step-out for their individual efforts.

Of all of the praiseworthy performances of this show, however, the single best moment was when the cast as a whole converged onstage, each singing their individual melodies in what could easily have been a cacophonous mess.  Instead, it was remarkable due to the actors' combined talents and the expert musical direction of Mr. Joyner.

The set was well-conceived by set designer Rick Hinson, and beautifully lit by Mr. Lyles who successfully used a variety of techniques to enhance mood and to distinguish the time differences.  The costumes by Julie Perkoski were period- and character-appropriate, and the showgirl outfits were dazzling.

Bottom line?  Follies is an exorbitantly difficult show to produce, and the cast, crew and production team should be justifiably proud of their successful effort that is definitely worth the time and price of the ticket.

Performances run thru June 10th, Friday - Saturday at 8 p.m. and Sunday at 2:30 p.m.

at the Mary T. Christian Auditorium at Thomas Nelson Community College

Templin Hall, 99 Thomas Nelson Drive, Hampton, Virginia.

Tickets are $15 with discounts for students, seniors and military.

Reservations can be obtained by calling the box office at (757) 881-9797.

© 2012 Hampton Roads Theater Babe.  All Rights Reserved.