Chapin - Everything was possible: the birth of the musical Follies
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- Book:Everything was possible: the birth of the musical Follies
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- City:New York (State);New York;United States
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Everything was possible: the birth of the musical Follies: summary, description and annotation
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In 1971, college student Ted Chapin found himself front row center as a production assistant at the creation of one of the greatest Broadway musicals, Follies . Needing college credit to graduate on time, he kept a journal of everything he saw and heard and thus was able to document in unprecedented detail how a musical is actually created. Now, more than thirty years later, he has fashioned an extraordinary chronicle. Follies was created by Stephen Sondheim, Hal Prince, Michael Bennett, and James Goldman giants in the evolution of the Broadway musical and geniuses at the top of their game. Everything Was Possible takes the reader on a roller-coaster ride, from the uncertainties of casting to drama-filled rehearsals, from the care and feeding of one-time movie and television stars to the pressures of a Boston tryout to the exhilaration of opening night on Broadway. Foreword by long-time NY critic Frank Rich.;Intro; 1 ... Walking Off My Tired Feet; 2 Hats Off, Here They Come, Those Beautiful Girls; 3 Girls Looking Frazzled And Girls Looking Great; 4 But Every Height Has A Drop; 5 Clicking Heels On Steel And Cement; 6 Why Am I Here? This Is Crazy!; 7 Everybody Has To Go Through Stages Like That; 8 Thats What Youve Been Waiting For; 9 The Choices That You Make Arent All That Grim; Thursday, February 25; Friday, February 26; Saturday, February 27; Sunday, February 28; Monday, March 1; Tuesday, March 2; Wednesday, March 3; Thursday, March 4; Friday, March 5; Saturday, March 6
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Praise for Everything Was Possible
Well, I thought I wouldnt get around to finishing the book until I returned from Vienna, but of course I should have realized I couldnt put it down!... It is handsome and exciting. So, Ted, well done! I guess you really were our Boswell.
Harold Prince
Its not only the best book about the musical theater Ive ever read, it was so vivid that I couldnt wait to see how everything turned out.
Stephen Sondheim
What a treasure to have your wonderfully written and insightful book. And though I wonder if perhaps one shouldnt know too much about how musicals (like laws and sausages) are actually made, I cant think of a more accurate and informative account.
Stephen Schwartz
Just wanted to add one more voice to the flood of congratulations youve so justly received. I expected it to be informative and important, but frankly, was unprepared for how emotional and purely enjoyable a read it was. Congratulations from one more fan.
David Henry Hwang
I couldnt put it down and most of all, it actually made me want to direct another musical.
James Lapine
With your brilliant eye you have caught the various creative characters and their working methods so accurately and laid out different peoples perspectives, including your own, in a way that a reader can still judge the facts and, therefore, the shows strengths and weaknesses for themselves. I wish some of my productions had the good fortune of a Ted Chapin in attendance to observe and unravel the extraordinary alchemy that happens when a special musical comes alive.
Cameron Mackintosh
Being a fly on the wall with you and watching my greatest Broadway heroes break open the traditional musical to create something startling and new inspired me to do better. Your book challenges me to nurture a new musical thats unlike anything that came before it. A musical that breaks boundaries, surprises audiences, and takes the art form I love so much to new places. As I approach any new work, Im always asking myself, are we aiming high enough?
Jeffrey Seller
This is as good a book as anyone has written about the process of creating a new show. Are you absolutely sure you were only in college at the time? Bravo!
Gregory Mosher
It is one of the most enjoyable theatrical volumes that I have ever read. I had no idea that you were connected with Follies, but how amazing that you were able to so vividly reconstitute its gestation.
Michael Feinstein
Its wonderful, so detailed and personal and thoroughly captivating. Im sure its already becoming required reading for anyone foolish enough to want to pursue this crazy business! Thanks for reminding me of why I wanted to be part of this madness. Bravo, Ted.
Howard McGillin
Its difficult to put the Broadway experience into words. Hands down, this is the best recent book about what it is like to work on a Broadway musical.
Todd Haimes
Oh my God!!! What a wonderful time I had reading your book. It made me laugh to remember and cry from the thrill of being there together.
Paul Gemignani
You brought it all back; the joy, the anxiety, and exhilaration. No one but Samuel Pepys and you could have had the persistence to have written such a detailed journal. Formidable! There is nothing like it out there.
Joanna Merlin
Anddear TedI enjoyed Everything Was Possible immensely. I learned so much from your fine masterful action-packed narrativeI never knew that world so closely before. One laughed, one almost cried, one was incredulous. A quite marvelous book, if I may say so.
Shirley Hazzard
Everything Was Possible: The Birth of the Musical Follies
by Ted Chapin
Copyright 2003 by Ted Chapin Foreword copyright 2003 by Frank Rich
All rights reserved
Published by arrangement with Alfred A. Knopf, a division of Random House, Inc.
No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage or retrieval system now known or to be invented, without permission in writing from the publishers, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper, or broadcast.
Permission to reprint previously published material may be found following the index.
9781476849218
Library of Congress Cataloging-in-Publication Data:
Chapin, Theodore S.
Everything was possible : the birth of the musical Follies / Ted Chapin ; foreword by Frank
Rich.
Chapin, Theodore S.
Everything was possible : the birth of the musical Follies / Ted Chapin ; foreword by Frank
Rich.
p. cm.
Originally published: New York : Alfred A. Knopf, 2003.
Includes index.
ISBN 1-55783-653-1
I. Sondheim, Stephen. Follies. 2. MusicalsNew York (State)New YorkProduction and direction. I. Title.
ML410.s6872c53 2005
792.642dc22
2005001847
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North America:
Hal Leonard Corp.
7777 West Bluemound Road
P. O. Box 13819
Milwaukee, WI 53213
Phone: (414) 774-3630
Fax: (414) 774-3259
Email: halinfo@halleonard.com
Internet: www.halleonard.com
Europe:
Roundhouse Publishing Ltd.
Millstone, Limers Lane
Northam, North Devon EX 39 2RG
Phone: (o) 1237-474-474
Fax: (o) 1237-474-774
Email: roundhouse.group@ukgateway.net
Table of Contents
To the gentlemen and ladies of Follies , 1971
Life was fun, but oh, so intense.
Everything was possible and nothing made sense
Back there when one of the major events
Was waiting for the girls upstairs.
Everything was possible and nothing made sense
Back there when one of the major events
Was waiting for the girls upstairs.
from Waiting for the Girls Upstairs
Foreword
M ore than three decades after its premiere, Follies remains the most elusive of landmark Broadway musicals. Set at a reunion of onetime Follies performers on the eve of the destruction of their old theater, it is a show for which the word problematic could have been coined. Its theatricality is lavish but its mood is downbeat. Its storytelling plays tricks with time that are poetic to its fans but disorienting gimmickry to less sympathetic onlookers. The principal characters are narcissistic, unpleasant, and prone to onstage nervous breakdowns. Yet the Stephen Sondheim songs they sing are now classics of the musical-theater repertoire, full of heart even when they delineate arid, disappointed lives.
From the start, critics have been divided about Follies, passionately pro or con but rarely on the fence. The original production, though running well over a year at the Winter Garden, lost its entire investment. Major revivals in London (1987) and New York (2001) were also commercial failures. Each of them used revised versions of the original James Goldman book, and to this day there is no agreement as to what constitutes the definitive text. In each rendition, Follies draws new adherents, but also new detractors. Is it really a great musical, or merely the greatest of all cult musicals, the most fabulous of self-indulgent failures? Or might it be still unfinished, awaiting the perfect script revision, the radical new staging no one has yet thought of? Could one stroke of luck finally make the whole elaborate edifice fall into place as triumphantly as the Follies scenery descends in the fabled Loveland sequence?
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