University of Virginia Library

Musical Wizardry

All of this, of course, is in
keeping with the recurrent
underlying theme of moral and
social degradation present in Harold
Prince musicals since the
mid-sixties. It first appeared
peripherally in "Fiddler on the
Roof," was intrinsically blatant in
"Cabaret," was continually lurking
beneath the glossy surface of
"Company," and is now almost
celebrated in "Follies." Mr. Prince
is a unique combination of Busby
Berkley and Edward Albee — he
overpowers you with his stage
wizardry, yet his work is profound
instead of superficial.

This description can also be
applied to composer-lyricist
Stephen Sondheim by merely
changing "stage wizardry" to
"musical wizardry." Sondheim is a
first-rate composer — his music for
"Follies" isn't quite as good as his
for "Company," but it's still much
superior to any other this season.
As a lyricist, he is at the top of his
field, unchallenged, not simply
because he has a way with words
(Alan Jay Lerner is every bit as
accomplished as Sondheim in that
respect), but because of the insight
into human nature and, indeed, life
itself which his words often
represent. For example, he
capsulizes in one song — "The
Right Girl" — the universal need of
man to be wanted and admired by
some woman, be it his wife or a
pick-up in Dallas named Margie. In
every instance Mr. Sondheim's
songs give depth both to the
characters for whom they were
written and to the theme of the
show.

"Follies" gets off to an
unfortunately slow start, and you
have to plod through to the first
half hour or so while the
foundation is being laid. But, all
things considered, that is of little
consequence. The cast is uniformly
superb — with Alexis Smith,
Dorothy Collins, Gene Nelson,
John McMartin, Yvonne DeCarlo,
Ethel Shutta, and Mary McCarty
heading the list — and there is
enough creative ingenuity and great
showmanship on display here to
warrant not one, but at least two
visits to "Follies." As is the case
with most Hal Prince musicals, a
single viewing is hardly adequate
for full appreciation of its theatrical
artistry.