Rating: 
Summary: "I'm just a Broadway . . . neophyte"
Review: Chapin's not much of a writer, but his backstage observations are caviar to the Follies aficionado. The flaw of the book is precisely what Chapin says it will be at the outset: he's presenting only what he saw and heard, and did not--not, that is, until the "call in the critics" finale of the text--attempt a broader perspective in any fashion, including by truly investigating, then or now, what was going on in rooms he wasn't in. The book might have benefited from a stronger editorial hand as well--it's irritatingly repetitive, always introducing information to the reader as if it hasn't been introduced already--but somehow it's eminently readable (I think the "eminently" applies only to those who come to the book with their fascination already built in).
Rating: 
Summary: The Sun Comes UP....
Review: I loved this book. I must say that I don't read a whole lot but this book was great especially from a musical actor's point of view. "Follies" has always been one of my favorite musicals and Ted Chapin captured a rare moment in history that I wish I was old enough to have witnessed. Luckily, this book gives thoughtful descriptions of what was going on in NY and Boston during the rehersal process. Being a fan of the musical I would often go back to listen to the various songs as they were introduced in the book. I wish the book hadn't ended because I was having such a great time reading it. Hat's Off!
Rating: 
Summary: A look in the mirror
Review: If the names of Stephen Sondheim, Hal Prince, and Michael Bennett pique your interest, then this book is for you.Following their collaboration on 'Company', the trio turned their attention to the musical that came to be known as 'Follies.' It's trials and tribulations during its rehearsal and tryout period are here in detail from someone who was there, Ted Chapin wastes no time throwing us into the professional theatre milieu. He has written and fast-paced and informative book. The people that inhabit it are REAL people who happen to be famous. And their determination to make this show work (some still say it didn't) makes for fascinating reading. It is like traveling back in time...and being there.
Rating:
Summary: Best book about Broadway since The Season
Review: In 1971 Ted Chapin was a 20-year old college student who found a way to wangle a job as a production assistant (gofer) on FOLLIES and get college credit for it. No doubt, Chapin's family connections helped him a great deal (which he readily admits) and I'm sure that because of it he was treated with far more respect than the average gofer. But connections or not, he was still a kid in love with the theatre. Chapin's youthful enthusiasm and hero worship shine through the book. The part that really melted my heart was when realizes he's the first person to type the lyrics for a new Sondheim song, "I'm Still Here." And you realize that even though today Chapin is powerful and successful, he still takes great pride in having been the first person to type the lyrics for "I'm Still Here." At the time of FOLLIES it was not unusual for shows to go into rehearsal with large sections of the script (the ending, for example) marked, "To Be Written." (Things are not like that today.) There are changes that happen in rehearsals, such as taking away "Losing My Mind" from Alexis Smith and giving it to Dorothy Collins. (It finally worked!) We see the changes that the show makes in its Boston tryout and the differences they make. There are great photos of the stars in the wigs and costumes that didn't work and were discarded. We read about the dramatic changes that happen when "Can That Boy Foxtrot" gets replaced by "I'm Still Here" and "Uptown and Downtown" gets replaced by "Lucy and Jessie." Then there were the trials of Alexis Smith losing her voice and Gene Nelson's son becoming involved in a life-threatening situation on the West Coast. Could the understudies go on? They've had no rehearsal at all! The cast was composed mostly of older people who had difficulty remembering lines and learning dance routines, in addition to being terrified to move on Boris Aronson's severely raked stage. I liked all the detail that Chapin includes in the book, like what the show was like from the orchestra pit, how the lyric sheets were punctuated, visits to the scene and costume workshops, etc. Chapin vividly presents a large cast of characters. I got a kick out of old Ethel Shutta getting off a few zingers at Fifi D'Orsay's expense. Early in rehearsals Yvonne DeCarlo appears to take a shine to young Chapin and he becomes her frequent escort, much to the horror of Hal Prince and Stephen Sondheim. Dorothy Collins supposedly told her to "Keep your hands off that nice young man." We see Alexis Smith working with everything she's got to make the show her own, all the while denying that she's put very much effort into her career. There's a cameo by Angela Lansbury (who was trying out PRETTYBELLE in Boston while FOLLIES was there for its tryout). Lansbury asks DeCarlo after seeing a matinee if this was her first time on stage. DeCarlo later explains it by saying that Angie must have been in a state of shock over her own show's premature closing. FOLLIES went on to become a landmark in the American theatre, running nearly two years, despite losing its entire investment. FOLLIES still sparks arguments today. Was it brilliant? Or a pretentious mess? This book is a great addition to the FOLLIES legend. Chapin obviously took great joy in simply being there and that joy shines through the pages of this book. Whether you're a FOLLIES fan or not (and I'm not), this book is a must-read for theatre buffs.
Rating:
Summary: A Must Read for "Follies" fans and theater lovers!
Review: It's hard to put into words how compelling and illuminating this book is. Without ever being dry or dull, Chapin's matter-of-fact retelling of the creation of "Follies" is must read book not only for fans of the show, but any lover of musical theatre. Chapin captures the universal themes of putting on a musical. The sense of family, the backstage drama, the challenges and the triumphs are easily identifiable to anyone who's ever worked on a show, be it on Broadway or a community theater. Beyond that, by following the production from the earliest rehearsals to the closing night, Chapin provides revelatory information about the show: abandoned songs and scenes, casting changes, etc. More importantly Chapin gives a first hand account of the intentions of the creators (Who didn't all see eye to eye) and brings back to light important concepts that have been sadly missing from recent revivals. To top it all off, theater buffs will love the cameo appearences by the likes of Eliane Stritch, Ethel Merman, Jerry Orbach and John Guare. A tome you won't be able to put down, this is the best theater book I have read in years.
Rating:
Summary: A Must Read for "Follies" fans and theater lovers!
Review: It's hard to put into words how compelling and illuminating this book is. Without ever being dry or dull, Chapin's matter-of-fact retelling of the creation of "Follies" is must read book not only for fans of the show, but any lover of musical theatre. Chapin captures the universal themes of putting on a musical. The sense of family, the backstage drama, the challenges and the triumphs are easily identifiable to anyone who's ever worked on a show, be it on Broadway or a community theater. Beyond that, by following the production from the earliest rehearsals to the closing night, Chapin provides revelatory information about the show: abandoned songs and scenes, casting changes, etc. More importantly Chapin gives a first hand account of the intentions of the creators (Who didn't all see eye to eye) and brings back to light important concepts that have been sadly missing from recent revivals. To top it all off, theater buffs will love the cameo appearences by the likes of Eliane Stritch, Ethel Merman, Jerry Orbach and John Guare. A tome you won't be able to put down, this is the best theater book I have read in years.
Rating:
Summary: Delightful Memoir and Great Resource
Review: Not to be greedy, but I wish Ted Chapin had been there at the creation of every important musical. His memoir of having been there at the birth of "Follies" is rich and delightful. Every person who finds themselves being glib at the expense of a new work in the theatre ought to read this book, because Chapin illuminates the perilous path of collaborative art -- the expense financially, physically, emotionally. In the words of Tommy Tune, "Contrary to popular opinion, the theatre is not for sissies." I loved hearing about the extraordinary amount of work that everyone did -- how many fears they had to face, how much was on the line for them. I'm so glad I read this book, and so grateful it exists. It is a wonderful resource for theatre students and young professionals. And it is simply a terrific read for anyone in love with theatre and what makes artists tick.
Rating:
Summary: THE GREATEST BROADWAY MUSICAL EVER
Review: Ted Chapin is such a smart and amiable guide through the rehearsal and preview period of one of the (if not THE) greatest musicals ever written and performed, that it's a pity this book about the making of FOLLIES isn't better. Chapin was a keen observer and kept detailed notes on everything he saw and heard. Unfortunately he is not an especially talented writer, and one is aware that he is frequently pulling his punches and drawing a veil over interesting matters that might better have been revealed. Though the bare facts of FOLLIES' evolution are always interesting, there is woefully little good dish here: despite the fact that most of this musical's performers have died, Chapin seems unable or unwilling to give us vivid glimpses of their characters and personalities. What we learn has to be gleaned by reading between the lines or via the odd, gossipy anecdote that actually made it past editor Bob Gottlieb and the Knopf legal department. Chapin is unerringly bland where he should be trenchant and opinionated -- he after all had the benefit of hindsight as well as of his extensive diaries and fresh interviews with Stephen Sondheim and Hal Prince. Perhaps Chapin's prominent position in Manhattan cultural life has made him too cautious. He also should have reprinted all of Frank Rich's student review of FOLLIES in an appendix since he describes it as having a striking effect on the creative team. And though the collection of color stills is an unexpected treat, this book has one of the ugliest designs and layout I have ever seen. FOLLIES deserved a more elegant book and a more challenging, provocative guide through its fascinating gestation.
Rating:
Summary: Riveting account of a Broadway birth
Review: Ted Chapin is well-known figure in the Broadway community, and writes from a vantage point few of us will ever experience. He takes us step-by-step through the trials and tribulations of getting a Broadway musical through the rehearsal process, having obviously kept copious notes throughout. The fact that both Hal Prince and Stephen Sondheim read the manuscript and "...offered helpful corrections and suggestions" adds to the authenticity of the work. He doesn't overly glamorize the people involved, nor is it simply backstage gossip. We are taken through the many steps that are involved in putting up a huge Broadway musical, including helpful details of jobs that many people are not aware of, including music copying, orchestration, set design and construction, lighting, sound, costumes... and the people who try to keep them all together and created the finished masterpiece that is "Follies." I hate to sound trite, but I couldn't put it down!
Rating:
Summary: You gotta love this show
Review: Ted Chapin was on the premises for this casting-to-opening account of the creation of the Stephen Sondheim musical "Follies" and those of us who are crazy about the show and that first production are indebted to him for his eye and ear and research. Chapin was a 20-year-old gofer when he was privileged to observe the process that turned a script into one of the great Broadway dazzlers of recent history. He wrote the original text as a college report and the very-detailed examination will be too much for someone who did not see the show or has only marginal interest in Broadway musicals (this reviewer saw the show six times, thanks mainly to the goodness of Producer Hal Prince who offered $2 seats at every performance). Chapin is tireless in descriptions of the way shows are made (everything from union rules to how orchestrations are developed and script changes typed). The big surprise is the total picture of how imagination and inspiration can be whipped into a monumental show.
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