The Palais Theatre was packed to capacity despite Melbourne’s heatwave conditions, and all because of a sensational production that everyone should see. It was wonderful to leave our troubles at the door and immerse ourselves in a truly memorable night at the theatre.
Victorian Opera has assembled an all-star cast to bring to life the Sondheim masterpiece Follies. The Palais is the perfect setting for a story set in an old theatre destined for demolition. Set in 1971, theatrical producer Dimitri Weismann (Grant Piro), who once staged his famous Follies revues in that theatre between the world wars, has invited the surviving actors, dancers, singers and variety stars to a reunion tribute in the condemned building.
Against a backdrop of the shabby atmosphere of a virtually bare stage with crumbling masonry, the characters reminisce and perform favourite numbers from their glamorous past.
There are two different storylines in Follies. One follows the real-time narrative of the Follies reunion party and the other follows the “follies” of the complex love lives of our four lead characters: two former Follies dancers, Phyllis (Marina Prior) and Sally (Antoinette Halloran) and their respective husbands and former “stage door Johnnies”, Ben (Adam Murphy) and Buddy (Alexander Lewis). Their stories are told in real-time and flashbacks with young performers playing the characters’ younger selves. They even evolve through clever writing into speaking and interacting directly with their younger selves. Imaginative staging by veteran director Stuart Maunder makes this easy to follow, and, throughout, all the characters are shadowed by their younger selves – dressed in white and silver, vibrant against the dark surrounds of the old theatre.
Special mention should be made of the performers playing the younger counterparts: Phyllis by Taao Buchanan, Sally by Mia Simonette, Ben by Jack Van Staveren, and Buddy by Jacob Steen. They are each accomplished singers, actors and dancers.
There is so much to enjoy in this production. It is the third staging of Follies that I have seen over the past four decades and it is by far the most complete and satisfying on every level. The show opens with the arrival of the invited performers as they return to the theatre for the first time in 30 years or more. We get acquainted with them as they get reacquainted. The first number is always a thrill and rightly camp as the “girls” parade the staircase as they did back in the old days, presenting and revelling in the shared bliss as former Follies compere Roscoe (Stephen Smith) introduces them in the number “Beautiful Girls”. What a pleasure to hear his clear tenor voice take the high notes with such ease.
There are many well-known songs in Follies and they have been covered and recorded many times over the years. But here’s a chance to hear them all in their original context. It adds so much to the enjoyment and reveals the true intention of the lyrics. “Broadway Baby” is performed with gusto by veteran star from the old J C Williamson days, Geraldene Morrow. At 83, she can still belt out that number! Multi-award-winning actress, Anne Wood, is perfect as jaded star of stage and screen Carlotta Campion as she presents an oh-so-measured version of “I’m Still Here”. It starts quite conversationally as she gives an interview to some reporters and slowly builds to the show stopper that Sondheim meant it to be. As old Vaudeville troupers, Emily and Theodore Whitman, played by Tom Blair and iconic actress Colette Mann, give a delightful turn in “Rain on the Roof”. It was particularly touching because Emily has clearly got a bit of dementia but can still remember the moves and lyrics. Theodore kindly guides her through the dance routine and she smiles, repeating the little gestures she still remembers from so long ago.
Melbourne theatre royalty, Evelyn Krape, sparkles in a rousing version of “Ah Paris!” as comic songbird Solange La Fitte, resplendent in a purple deco-style gown with a cape and headdress trimmed with black feathers from her 1920s heyday.
The first half of a show needs a big tap-dance number to send the audience to the interval on a high. Who better to do that than legendary entertainer, Rhonda Burchmore? As leggy redhead, Stella Deems, Burchmore gets all eyes on her amazing pins as she and the chorus boys tap their way through “I’m That Woman”. The choreography by Yvette Lee is outstanding. It’s fantastic to see dancing of this calibre done by seasoned dancers, and more so when its done so well by non-dancers.
One of my favourite cameos in Follies is “One More Kiss”, sung by a retired Follies soprano Heidi Schiller. I first saw it sung by opera star Glenda Raymond and then later by the wonderful soprano Margaret Haggart. This time it is sung beautifully by much-respected opera star Merlyn Quaife. In this number, Heidi is shadowed by her younger self, sung brilliantly by Nina Korbe; and the effect is electric. Their voices blended perfectly as the song became a duet. It’s truly a goosebumps moment. There are many such moments in Follies. That is Sondheim’s genius. He can fill you with joy and sadness all at the same time.
The four leads in this production are just world class. I loved Marina Prior in this, especially in “Could I Leave You?” as she viciously tears into husband Ben for his indifference. Baritone Adam Murphy gives a great performance as Ben, the highly successful but unfulfilled businessman Phyllis now feels is a stranger. His dance routine “Live, Laugh and Love” with the Follies dancing girls is just wonderful. Alexander Lewis shines as Sally’s husband Buddy in his follies routine “The God-Why-Don’t-You-Love-Me-Blues”. It really is a tour de force piece that requires a lot of singing, clowning, dancing and comic timing.
The pace is quickening as we near the end, and after the frenzy of Buddy’s Follies, there is a pause in the momentum for a final showstopper: “Losing My Mind”. Sung superbly by Antoinette Halloran as Sally. For me, this was the most important piece in the entire show. I’ve heard this song many times, but last night it was if I’d heard it for the first time. It was sublime, it was poetry, it was real. Halloran’s vocals in this production were just superb – as was her acting. Although best known as an opera singer, her mastery of music theatre technique is a revelation. The tone, depth and warmth she can achieve using her strong operatic technique adds a dimension to this repertoire I haven’t heard before. The audience was in silent awe during the song and burst into cheers at the end. It was magical.
All this wonderful singing was superbly supported by Orchestra Victoria under the baton of musical genius Phoebe Briggs.
The marvellous costumes designed by Roger Kirk are so evocative of the various eras of each character. They all have their own different style, which is so important in such a large female cast. His costumes for the dancers are straight out of the Ziegfeld Follies and in fabrics that catch the lighting, so well designed by Gavan Swift.
I spent the evening surrounded by an audience who were delighted and energised by the performers who clearly enjoy performing this work. Their joy crosses the footlights and lifts us all up. This what great theatre can do. Be part of it and do not miss out. This season only runs until February 6th.
I hope that this production may find a home and another longer season somewhere after this, because it deserves to be experienced by as many people as possible. In these uncertain times, we need more entertainment like this.
Photo credit: Jeff Busby
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Jon Jackson reviewed Victorian Opera’s production of “Follies”, presented at the Palais Theatre St Kilda on February 3. 2025.
