Book: James Goldman
Music & Lyrics: Stephen Sondheim
Director: Cameron Menzies
As the Grand Opera House’s lights fall, several shimmering showgirls take up their positions, stage left and stage right, to get the most fabulous party started. From this moment, the venue is transformed into the Weismann Theatre and Belfast becomes Broadway, as audience members are transported back to 1971, New York. A two-hour extravaganza of glitz, glamour, darlings and drama ensues, in this epic ‘Northern Ireland Opera’ production of Stephen Sondheim’s legendary musical ‘Follies’.
Fusing fast-paced, sharp, sassy dialogue, with a trademark, soaring Sondheim score, Follies focuses upon the individual and interlinked stories of an ensemble of showgirls who graced the stage of the Weismann in its halcyon days. Ahead of the theatre’s imminent demolition (to make way for a car park) the Weismann gals (and their guys) have gotten together for one last time to celebrate, reminisce and reflect.
The characters of Sally (Anna-Jane Casey) and Phyllis (Annette McLaughlin) and their husbands Buddy (Mark Dugdale) and Ben (Alasdair Harvey) are central to the crux of Follies and its themes, which despite an apparent air of ebullience and an innocuous sense of nostalgia, also explores deeper issues of remorse, wistfulness and the perils of a half-lived life.
Cleverly, the narrative structure of Follies sees the 1971 characters shadowed on stage by their younger, 1941 selves. This seamless merger of past and present works wonderfully as a conduit for stunning storytelling.
In this triumphant production, which is Follie’s Northern Irish premiere, the casting and symbiosis between the younger and older versions of each character is exceptional, particularly when Sally, Phyliss, Buddy and Ben are joined by their junior selves, performed wonderfully by Brigid Shine, Anna Violet, Reece McGowan and Chris Kane.
Likewise, the sensational Lesley Garrett CBE’s connection with her 1941 Heidi Schiller counterpart (superbly played by Petra Wells), provides one of the show’s many standout moments, when they perform ‘One More Kiss’ together.
There appears to be a palpable sense of camaraderie within the cast and the manner in which director Cameron Menzies has seamlessly combined seasoned stars with glowing debutants is to be applauded, especially as it provides an added dimension of life imitating art, given the premise of the production.
As can be expected with a Sondheim show, there are glorious musical numbers from start to finish. The score is sparklingly rich and exuberant and under the musical direction of Greg Arrowsmith and concertmaster Joanne Quigley McParland, the Orchestra of Northern Ireland Opera delivers with immense aplomb.
Big, booming, boujee numbers like ‘Beautiful Girls’, ‘Waiting for the Girls Upstairs’ and ‘Broadway Baby’ make audience members want to jump up and break into jazz hands, however, it’s the show stopping ‘Who’s that Woman?’ that really raises the roof of the Grand Opera House. This technical feat of terrifically tapping feet is sensational and a credit to Jennifer Rooney’s outstanding choreography.
Through Menzie’s creative direction, Niall McKeever’s striking set design and Jake Wiltshire’s clever lighting the Grand Opera House becomes more than simply a host venue, as it’s sutured into the heart of theatre land and assumes the role of the Weimann. In the second act, there’s an audible gasp from the audience when they’re introduced to the fantastical, technicolour surroundings of ‘Loveland’ which highlights how deeply immersed the onlookers are in proceedings.
Gillian Lennox’s spectacular, jaw-dropping and show shopping costumes are another star of the show and Nuala Campbell’s remarkable hair, wig and make-up designs are central to the production’s success too.
In the first act, 1971 Phyllis perceptively muses “When we’re young, there is no limit to the roles we hope to play” which is, at its essence what Follies is about. This ambitious and boundless production from Northern Ireland Opera captures that exuberance and channels that energy, distilling the spirit of Sondheim’s classic, both on stage and off. Catch it whilst you can – your future self will thank you for it.
Runs Until 20 Sept 2025.
