There has been over a dozen major productions of Follies. Some have released an album version of the show. Kyle takes the time to listen to all the albums he could find to discover the best Follies recording, and which songs on each album are standouts.
Follies is full of songs. But that doesn't mean that certain tunes didn't get cut during the creative process. On this episode Kyle details the 10 songs that weren't included in Follies and why they didn't ever see time on-stage.
It's not exactly the play where everything goes wrong, but it feels like it! Ben tries to put on a smiling face, dance, and be charming but the show is crumbling around him. William White returns to the podcast to close out the Follies season.
The 1987 London version of Follies decided to change how the show ended. Out was the original ending of Live, Laugh, Love and instead was this song. Colm Molloy joins Kyle to figure out which ending might be better and why it's probably not this one.
Depending on the actress that is cast as Phyllis she might be asked to perform The Story of Lucy and Jessie or this song. This is a burlesque strip tease. Phyllis is asking the audience what they expect to find underneath. Celina Reynes joins Kyle to discuss what it is that's revealed and what remains hidden.
It's time for Phyllis to shine! Should she be more like Jessie or Lucy? You see it's not that easy. Victoria Gordon returns to educate Kyle about what this song is actually about and how Phyllis is the unsung hero of the show.
This song is deceptively simple. There is a richness to it both musically and thematically in the show. Ashley Pribyl returns to offer insight and tells the story about which character this song was originally written for.
We have entered the pscyho Follies. Buddy is up first to sing about what is driving him mad. David Heineman returns to explore Buddy's psyche, talking fast, and who performed it best.
This is the only time the younger versions of the four main characters get to sing a song. Is the jaunty melody actually a sign that their relationships started positively but became corrupted? Or are they trading fake niceties to hide the negativity brewing in their lives?
Is Loveland a collective mental breakdown, or is there something deeper going on? Steve Johnson joins Kyle to discuss MGM musicals and the idea that this is just the crossing of the threshold to the fantastic.
Phyllis deserves more love! Both in the show and from general audiences. In this song she delivers withering barbs to her husband Ben. But could she also be hiding behind a mask of anger her vulnerability? Darby Turnbull returns to discuss this and more!
One More Kiss was cut from the original Broadway cast album. That's a shame because it just might be the most thematically rich song of the entire show. Marco DeNinis joins Kyle to explore operetta, ghosts, and beautiful things dying.
Buddy is mad. He dreams of being with the right girl. But who is that right girl? Isaac Bernier-Doyle returns to discuss Margie, delusions, and dad's dancing.
David Möschler is a conductor and musical director. He's also the founder of Awesöme Orchestra Collective. In this "intermission" from Follies David and Kyle dive into what makes Sondheim magical and which songs from Follies are the best.
I'm so content spending time with you! Mackenzie Horner (of the Before the Downbeat podcast) joins Kyle to discuss people lying while singing. But also the interesting way that the lyrics interact with the music in the song Too Many Mornings.
Whether it's good times or bum times it's still fun to sit around and talk about this song that can often steal the show. I'm Still Here is a song that's been covered by dozens of artists, but how does it work in the show Follies? Alex Stuive joins Kyle to explain the references and how the music in addition to the lyrics makes this one of Sondheim's best.
Is this a throwaway song or does it offer some subtext to the dissolving relationships within the show? Karen Unland returns to discuss weary women and tap numbers.
It's Sally's turn to lie about herself. Christine Chen returns to discuss where Sally's headspace is currently at in the show and whether she was ever happy with Buddy.
Country House is a song that was written specifically for the 1987 London version of Follies. Does it add to the show? Or is it simply an interesting curiosity? Adrianna Boris returns to help Kyle decide.
Ben must confront the decisions he's made, but is he being truthful? Anna Hulkower and Tim Kov (hosts of My Little Tonys) return to the show to unpack the subtext of this song and delight in the Sondheim wordplay.
Couples kissing, French women reminiscing, and Broadway dames schlepping. Jonathan Chisolm returns to discuss a triplet of songs that showcase Sondheim's mastery of pastiche.
Waiting For the Girls Upstairs is a song packed with plot. Kyle invites on Hugh Summers, a theatre producer in England, to explore both the upstairs and downstairs of this song.
Sally sees her old lover, Ben, and becomes a nervous wreck. Kyle invites on Bruno Apresentação to discuss Sally's first song and how Sondheim is adapted in other countries.
Here they come, those beautiful fools. William C. White returns to the show to discuss Sondheim's influence in writing slow waltzes, the original song that was supposed to open Follies, and try to figure out who Lorelai was.
Don't worry! You're not losing your mind. I'm still here. A new season of Putting It Together debuts next Wednesday (May 20) all about the musical Follies! A season where we'll learn how to live, laugh, and love. Because that's Broadway, baby.
This is what its all been leading to. Being Alive is the culmination of the entire show. Eric Matthew Richardson returns to discuss being held too tight and why Kyle is sitting in his chair.
"Losing My Mind: A Sondheim Disco Fever Dream" *BONUS EPISODE* (with Joshua Hinck and Scott Wasserman)
You might think that disco and Sondheim don't go together. But Joshua Hinck and Scott Wasserman are two of the collaborators that put together a fusion of Stephen Sondheim's lyrical beauty with the distinctive musical style that defines disco.
Michael Price is a writer for The Simpsons and the creator of F Is for Family. He joins Kyle to discuss one of the most important (if not THE most important) song from Stephen Sondheim's career.
Here's to the crowd that just listens! Jonathan Chisolm returns to discuss Elaine Stritch, Mahler, and the girls who just watch. Plus a great discussion on who has performed this song the best.
Is Barcelona an example of masculine apathy, or is Bobby actually trying to find a connection? Alex Luber joins Kyle to discuss that and some of the other oddities of this song.
Maternalistic worries, dance breaks, and hot sex. That about sums up Poor Baby and Tick Tock. Two songs which are intertwined with each other. Adrianna Boris joins Kyle to break it all down as well as tell some stories about Elaine Stritch.
Act 2 of Company opens with an ode to vaudeville. Dr. Ashley Pribyl joins Kyle to discuss how this upbeat song is actually incredibly sad. And what do all those numbers mean?
Victoria Gordon will be starring in Sondheim on Sunday: A 90th Birthday Salute. Victoria is an acclaimed performer, director, and producer based out of Los Angeles. In this episode she discusses with Kyle her inspirations, her love of Sondheim, and why her concert was always inevitable.
How, exactly, do you marry someone a little? That's what Darby Turnbull and Kyle discuss in this last song of Act One. It seems like Bobby's delusions are getting the best of him. Plus the conversation drifts into topics of mental health, Showboat, and stress eating.
A wedding day can be stressful. The character Amy decides to sing through her anxiety as fast as she possibly can. Kyle is joined by Hallie Casey to discuss relationships, updated lyrics, and a book written in 1852.
By bus, train, or plane people keep coming to New York. Matthew Sampson joins Kyle to discuss a song that was written for a specific performer but hides a whole lot of meaning to the rest of the show.
Someone Is Waiting contains foreshadowing for a couple of songs that appear in Company later in the show. Federico Tedeschi returns to explain why this is such an important song. Plus, a formal apology is given for the events of last week.
A bunch of guys try to convince Bobby to tell them about his sexual conquests. But maybe there's more to this song than that? Matt McClendon joins Kyle to discuss the Kamasutra and Sazerac Slings.
No bulls needed to be coerced in the recording of this podcast. Christine Chen returns to unpack the word "crazy" and discuss if changing the original lyrics of this song was a good idea.
How can you feel sorry and grateful at the same time? I'm sure the Germans have a word for it. Lauren Shippen joins Kyle to discuss this odd feeling along with relationships and vulnerabilities.
The definitive list of the best songs Stephen Sondheim wrote before 1970. Or, at least, the definitive list until I change my mind.