By Steven Suskin
12 Dec 2011

	Jan Maxwell in Follies.
	photo by Joan Marcus

In my two-part column on the then-existing Follies cast albums, I concluded that the original 1971 Broadway recording — despite drastic trimming and poor audio — remains indispensable. Which is still the case, due to the performances by members of the original cast. This new recording, though, leaps past the others to share first place; what's more, if you do not have any recordings of the show, I'd suggest starting with this latest recording and supplementing it with the first. Although if you do not have any recordings of Follies, I should find it unlikely for you to be reading this.

The banner item, I suppose, can be considered the playing of the score. Sondheim's music — and Jonathan Tunick's orchestrations — sound wonderful, for which we can salute musical director James Moore, his 28-piece orchestra, and the fellows in the recording studio. Also very much enhancing the recording is the selective inclusion of incidental music and dialogue, with a goal of telling the listener everything he or she needs to know. (Yes, there are some listeners out there who don't know Follies beat by beat.)

This production has two very good performances — from Jan Maxwell as Phyllis and Ron Raines as Ben — plus an astonishingly wonderful one from Danny Burstein as Buddy. In years of Follies watching, the character of Buddy has always seemed unconvincing to me. Burstein's Buddy is real, all right; convincing and authentic. He sings the songs better than I've ever hoped to hear, but it's the acting that makes us — finally — actually look at Follies through Buddy's eyes.

	Ron Raines and Bernadette Peters in Follies.
	photo by Joan Marcus

The surprise of this recording, for me, is the Sally of Bernadette Peters. Hey, I've been watching Bernadette give memorable performances since way back; good times and bum times, she has always come through. Not so much, though, when I saw this production of Follies in September (twice in three days, including opening night); hers was a professional performance with fine acting moments, but she seemed disconnected from the rest.

Listen to her now. This is a fine Sally, the sort of Sally you'd expect to get from an actress like — well, Bernadette Peters. The performance on the CD is compelling; either this is simply the magic of the recording studio or Peters has changed what she does and how she does it. While I did not intend on paying another visit to the Marquis, I wonder if perhaps I owe it to myself to see Peters once more.

I need not step through and praise this one and that one yet again; I've said enough about this production. One thing that I feel should be addressed refers to a comment in the second part of the Follies cast album overview. I explained that when looking at a new production or recording of the show, I center on the four leads plus three of the ladies (Carlotta, Hattie and Stella); the rest of the characters — be they good, better, or exceptional — remain subsidiary. That changed when I attended this production, with Heidi now added to the mix. Rosalind Elias' rendition of "One More Kiss" — with Leah Horowitz as her ghost — is a crowning moment of the show at the Marquis, not only for the singing but for the way the song suddenly seems crucial to everything Mr. Sondheim and Mr. Goldman are saying through the evening. This moment is here on the CD, of course; perhaps it will give the listener a chill.

	Danny Burstein in Follies.
	photo by Joan Marcus

For those interested in liner notes, let it be added that PS Classics has provided their usual colorful, feature-filled booklet in a handsome slipcase. Here we have the credits and lyrics illustrated by production photos and designs, along with an extensive essay by Patrick Pacheco, an introduction by Krasker, and a synopsis by Sean Patrick Flahaven.

There's nothing more to say, except that we still have a month until this production is scheduled to pack up and move out on Jan. 22. Follies lovers have no doubt already made their pilgrimage to the Marquis, geography permitting. It took us 40 years to get a major production worthy of comparison to the Harold Prince-Michael Bennett original. If it takes another 40 years to get another one, I don't know that I'm Still Here. So I suggest that readers take advantage of this Follies while it's still on the boards, either on Broadway or in the just-announced engagement at the Ahmanson in Los Angeles starting May 3.

Visit PlaybillStore.com to buy this and other theatre-related recordings for sale.

 Continued...