Welcome to a new Musical Theatre Monday! This month, I’m gearing up for the 55th anniversary of Follies by sharing some thoughts on a rarity that I’ve recently added to my collection. It’s a copy of Hugh Wheeler’s March 18, 1974 draft for a proposed film version. Now, much has been written over the years regarding Hal Prince’s efforts in the early 1970s to bring Follies to the big screen, setting it in an old studio rather than a crumbling theatre, and with real movie stars playing the characters and/or some version of themselves. (Fred Astaire? Joan Crawford?!) This film, of course, never came to fruition — and That’s Entertainment!, released just a few months after Wheeler’s script was dated, seemed to satisfy the market’s nostalgia, with much more joy and optimism than the bitterly ruminative Follies would have offered.

But for fans of this rich Sondheim musical, a film version has always remained an exciting prospect, especially because of the cinematic opportunities to juxtapose the young and the old, which is a major motif in the text. And it’s especially interesting to note that the screenplay was being developed by frequent Sondheim collaborator Hugh Wheeler (A Little Night Music, Pacific Overtures, Sweeney Todd), whose version apparently built on an earlier draft penned by playwright Jean-Claude van Itallie. Now, having read Wheeler’s draft, I want to spotlight the major changes from the stage show that you’ll note right away. (These are just a few!)

1. As expected, it’s set in Hollywood at a (fictional) studio that’s about to be torn down.
2. Ben and Buddy aren’t just the spouses of two former actresses — they were in the movies as well.
3. There are more references to real stars, and opportunities for cameos are built in (along with actual old movie clips).
4. There are a bunch of new characters. Margie, Buddy’s gal, works for studio head Gordon Glass. Both are major roles.
5. Another new character is Leila, a big star and rival for Carlotta. They both sing “Broadway Baby.”
6. Two male comedians (new characters) get what’s referred to as a “New Song.”
7. Half the stage score is cut. Gone are: “Don’t Look at Me,” “Rain on the Roof,” “Ah, Paris!” “The Road You Didn’t Take,” “Bolero d’Amour,” “In Buddy’s Eyes,” “Too Many Mornings,” “The Right Girl,” and “One More Kiss.”
8. “Losing My Mind” occurs in the middle of the film. “I’m Still Here” occurs at the end, as the studio is bulldozed.

With all that in mind, here are my top-line thoughts. In general, I think the screenplay suffers from losing key songs like “The Road You Didn’t Take,” “In Buddy’s Eyes,” and “The Right Girl.” Without them, the primary theme of middle-aged regret is softened in favor of more plot-based nostalgia about Hollywood and the simple passing of time. Also, in taking focus off the core foursome, the whole thing naturally becomes less of a character study. I assume this shift is intentional — it’s just, of course, less affecting. Okay, sure, perhaps if there were major stars playing these roles, the sheer casting would supply some of that missing emotional heft.

However, you can decide for yourself. I’ll send a copy of this script to all subscribers who comment below to alert me of their private, non-commercial interest. Trust me, Follies fans, it’s a must-have! And for the rest of you out there, here’s an excerpt.

Come back next month for another musical rarity! And stay tuned for more sitcom fun!