Follies In Concert

There is only one Stephen Sondheim. Though not the most popular, he is arguably the best ever composer for Musical Theatre. That, in itself, is enough reason to beg borrow or steal a ticket to this very special event. But there is also only one Nancye Hayes, whose star quality is dazzling, and one Phillip Quast (why has it taken so long for us to see him interpret Sondheim so exquisitely?); and one Lisa McCune (too young for Sally but who cares…she is divine) and one……well…

Each one of these marvellous artists, accompanied brilliantly by a magnificent orchestra conducted by Stephen Gray, reminded us that there is also only one Follies, a show that is haunting and moving, a tribute to something that has outlived it’s time and can never be rekindled - much like Ben and Sally’s love, poignant but inevitable.

To hear that orchestra, with the great Jonathan Tunick’s original orchestrations, was nothing short of magic.

The storyline is slight. A beautiful old theatre, home to The Follies for decades, is being demolished to make way for a car park. The performers from various eras gather together for a last reunion party and old memories and feelings are ingnited. That’s it, in a nutshell – but it is perfectly put together. Director Tyran Parke’s decision to include the book and let his artists carry scripts on stage was the perfect solution to the limited rehearsal time. That he pulled this show together in such a limited time is staggering, and shows why his directing star is rising exponentially. I would quibble with a couple of choices. Why have Lisa McCune sing (heartbreakingly, I might add) as far upstage as possible where she was totally masked from half the audience by Stephen Gray’s conducting? Surely DS prompt or OP with a pin spot and the orchestra blacked out would have given more focus? It was an odd choice, for me at least.  I also thought Debra Byrne – impressive though she was (as always) could have afforded to be a little less frenetic in “I’m Still Here” which is a dry and ironic number that works best when you can actually hear the lyrics. A little less movement and a little more “planted” centre stage would have brought the lyrics home more. Though this felt over-staged, Kelly Aykers has done a marvellous job on simple but flashy dance routines, and to see all the ladies (especially Grandma Patti McGrath-Newton) doing a tap routine, albeit mostly time-steps, was a highlight of the evening.

David Hobson goes from strength to strength as an all-round performer, even blitzing Buddy’s Blues – which for some reason wasn’t listed in the programme. He and Lisa McCune were totally credible as the married couple who have lost their way, and Lisa is truly at the top of her game in both the singing and acting stakes. She truly is a superb actress who sings wonderfully rather than the other way around. Anne Wood showed why she is such a revered stalwart of Music Theatre. She looks a million dollars plus in a fabulous red sequin gown and owns the stage with “The Story of Lucy and Jessie”, and brings just the right note of irony to “Could I Leave You”. Queenie van de Zandt (Stella) shows her brilliance in “Who’s That Woman?”, Katie Kermond (Dee Dee) taps to perfection in a minor role; Margaret Haggart (Heidi)  shows off her exquisite soprano voice in “One More Kiss”, but is outsung by the extraordinary Madeline Featherby, whose voice soars to outer space and is a credit to her many high profile tutors. Robert Grubb is totally believable in a thankless role and David Rogers-Smith makes “Beautiful Girls” thrilling as well as kitsch.

Bert Newton is there ….well….because he’s Bert, and a legend, and any deficiencies are covered by the still pert and totally professional Patti. Rohan Witt, Sophie Wright, Jenni Little and Lachlan Graham all excelled as the young couples and the ensemble was incredibly tight throughout

And then there are the two undisputed stars of the night. They have to be mentioned last because no-one else can follow them.

What can be said about Nancye Hayes that hasn’t been said before a thousand times? She is a star. She is perfection. She is the reason many of the audience were there last night, as witnessed by the screams and cheers on her initial entrance. She IS Music Theatre in Australia, and though she doesn’t move as freely, or sing as richly as she did 30 years ago, there is a sublime aura around her; a sense of stage presence and finesse that can’t be duplicated or learned. It comes from honing your craft and honouring your talent for more than fifty years. She walks in her own spotlight, and to see her perform “Broadway Baby” one more time -  with the little aside looks, the shoulder shrugs, the flick of the fingers, the nuances that age brings, was simply an experience I will never forget.

Finally, Philip Quast - sublime, heart-breaking, commanding, charismatic, tragic, exhilarating - I’ve run out of superlatives. To think that we have never seen his Olivier Award winning George Seurat here is a travesty. But at least we have his Ben to remember. When he collapses in tears in his final number, we all leaned forward in our seats, hearts breaking for him. If ever a man deserved the title of star – though he would no doubt be embarrassed by it – it’s Quast. I’m thankful I have his Javert and this to remember.

A thousand bouquets to Adrian Storey (whom I hope to meet and thank personally some day, his wife is just delightful), for his commitment to the pursuit of excellence and for bringing us this Follies. It’s a gift that will be hard to beat for decades. You only have TODAY to see Follies. It isn’t going interstate and no extension is possible. Get to the airport NOW.

Coral Drouyn

Photographer: Jeff Busby