With a Multigenerational Bang!
Follies isn’t your typical musical. It’s not tied up with a bow or headed toward a tidy conclusion — it’s layered, emotional, and filled with ghosts. Stephen Sondheim’s 1971 piece is set in a crumbling Broadway theater, where former showgirls gather one last time before the building is demolished to be turned into a parking lot (I will not rant on how this reminded me of our city). The past and present collide as memories come alive, regrets surface, and the sparkle of youth dances with the weight of age. It’s about performance, legacy, love, and the illusions we cling to.
And now, Cygnet Theatre brings this complex, haunting musical to life in a bold and beautiful new production — marking the debut of their new season in their brand-new home: The Joan and Irwin Jacobs Performing Arts Center (The Joan) at Arts District Liberty Station.
I had never seen a production of Follies before. Still, this one is a showstopper in every sense. The company truly embraced a round experience, as this production definitely pushed the envelope.
The casting? It was the star of the show.
Director Sean Murray and team assembled a HUGE, glorious, jaw-droppingly well-matched cast that does what Follies is meant to do: thread the ghosts of memory through the fabric of the present. The younger counterparts of the central characters don’t just resemble their older selves — they echo them in movement, voice, and energy. The synchronicity is unreal. (and I have to admit, a little trippy)
Russell Garrett (Buddy) and Ian Bartlett (Young Buddy) gave one of the most breathtaking “The Right Girl” renditions with a dance sequence that was Chef’s kiss. Perfectly timed, emotionally rich, technically crisp. Garrett knows how to carry the gravitas of a man unraveling, and Bartlett delivers the raw vitality of the memory he’s trying to hold on to.
Sandy Campbell’s Sally is full of ache and yearning. She carries the role with emotional transparency and grace — quietly unraveling in all the right ways. Audrey Deubig as Young Sally is her perfect counterpart, and her performance was nothing short of fantastic — clear, grounded, and emotionally in sync.
Karole Foreman… a beast in the best sense of the word! She gave us a fierce, elegant, and vulnerable Phyllis Stone, commanding from the first note to the last dance step. From choreography to interpretation, Foreman gave a masterclass.
And David S. Humphrey as Ben? So layered. His portrayal balanced self-importance and regret with striking precision. The chemistry among these four — Garrett, Foreman, Campbell, and Humphrey — is electric. These are seasoned performers at the height of their powers, and together, they made this production pop.
Leigh Scarritt delivered Pzazz with a capital P. Her “I’m Still Here” didn’t just land — it soared. This song, which speaks so much truth in the performing industry, was delivered with heart, humor, and total authenticity. Scarritt nailed every comedic beat while never losing the emotional core. She showed us once again why she’s a force in San Diego theatre.
I would honestly love to talk about each and every cast member — because everyone brought it — but there are too many (a good problem!). Still, I need to shout out:
- Johnisa Breault, whose dancing truly shone — what a beautiful mover.
- Abby DePuy is vocally stunning.
- Drew Bradford as Young Ben — so sweet, so sincere.
- Nio Russell as Young Phyllis — a voice for ions. Honestly, I’d listen to her sing the phone book.
Matt Lescault-Wood’s sound design supported this cast with a layered, cinematic quality, while Remus Mixer delivered a clean and dynamic mix. Amanda Zieve’s lighting, along with Joshua Heming as associate, played gorgeously with shadows and memory — not too much, never too little. Elisa Benzoni’s costumes gave each character visual depth, and Peter Herman’s wigs and makeup completed the transformation with elegance and purpose.
And let’s not forget the dreamlike presence of the ensemble: Will Doyle, Patti Goodwin, Anise Ritchie, Melinda Gilb, Amanda Naughton, Dagmar Krause Fields, Eddie Yaroch, Kaia Bugler, Katherine Chatman, Brice Daniel, Sierra Goria, Christopher Lopez, Melissa Glasgow — the list goes on and on, and every name deserves to be up in lights. Because what made this Follies soar was the unity. Everyone was in sync. Everyone mattered.
A (Semi) Sondheim Convert?
Now, I’m not a Sondheim person — I’ve said it before, and I’ll repeat it — BUT. This production? It may have semi-converted me. When the storytelling is this sharp and the performances this aligned, even the toughest Sondheim skeptics might find themselves tapping along.
I also have to share that I was sitting in the first row…maybe this is an added reason for my uncontained surprise and emotion, as I like to sit in the back row, aisle seat. So, seeing all these performers up close, with all the “snot, sweat, and tears” like a former colleague would say, definitely hit differently.
And, dear reader, I leave you with this: I love how this is a living tribute to theatre people, past and present — and to those still here.
Productions of Follies are rare, so you shouldn’t miss this one. Currently playing— and now extended —until October 19.
The Stage Manager is Matthew Bantock, with Assistant Stage Manager Ali Flores and 2nd Assistant Stage Manager Karina Ortega.
