Alexis Smith sings "Could I Leave You" from FOLLIES
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- Опубліковано 18 жов 2008
- Follies opened on Broadway on April 4, 1971 at the Winter Garden Theatre, directed by Harold Prince and Michael Bennett, with choreography by Bennett. It starred Alexis Smith (Phyllis), John McMartin (Benjamin), Dorothy Collins (Sally), Gene Nelson (Buddy), and Yvonne De Carlo, along with several veterans of the Broadway and vaudeville stage. Even though the production ran for well over a year (522 performances), it was not considered a success, and lost money. This was due partly to the rather bleak nature of the show itself, particularly Goldman's book. Frank Rich, for many years The New York Times's chief drama critic, wrote on the occasion of the 1985 concert performance that audiences at the original production were baffled and restless.[2] Goldman subsequently revised his work right up to his death, which occurred shortly before the 1998 Paper Mill production. Sondheim too has added and removed songs that he judged to be problematic in various productions.
The plum supporting role of Carlotta Campion, the seen-it-all ex-Follies girl who sings the showstopping "I'm Still Here," was created by Yvonne De Carlo in 1971, and has subsequently been given often to a celebrated veteran performer.
For commercial reasons, the cast album was cut from two LPs to one early in production. Most songs were therefore heavily abridged and several were left entirely unrecorded. ("One More Kiss" was omitted from the final release for time reasons, but was restored for CD release.) - Розваги
I must disagree with the people saying that this is a flat performance, the character Phyllis is a woman who is a diplomats wife, she has had to develop absolute self control and poise. I would suggest that this performance is indeed a very tightly controlled woman sheathed in years of ice built up in a very unhappy marriage and somewhat empty life. it's like the opening volly of a formidable opponent giving notice that this could become a very unpleasant situation if you insist on pushing the matter.
Yes she's playing her cards close to the chest. But something about her posture and poise made it clear she was not the person you want to piss off.
No, she’s just flat.
Compare it with Donna Murphy and see the difference. Just because she originated it doesn’t mean it’s better.
I agree. I think both versions, out of context, work. But, in the actual show this way makes more sense. I think Lee Remick's performance in the 1985 concert version captures it best.
I agree that this performance is absolutely glorious. I have only seen one other, and the lady was chewing the scenery. The song is *sarcastic* for a long time before building to and then exploding into anger at "wait a goddamn minute," which has to be in response to something her husband does. She is _mocking_ him with sweet little smiles.
@Ed Miller Thanks for letting me know who it was - it's been a few years since I looked for other versions. Carol Burnett's, I remember, had her own brand of humor thrown in but wasn't horrible. I keep coming back to view this one again (it's on my personal playlist) because it is exquisite. I do remember that in the Murphy version, she kept bending over in a backless dress and it made her back horribly rounded. I found that very distracting, along with her obviously overdone distress. In the song the woman is clearly not very distressed - she's _relieved_ to have the subject out in the open.
For the almost too composed performance of this song, the "Guess" at the end is absolutely BRILLIANT. She basically says everything just with that one word and gesture.
I love this rendition. It's subtle, but oh so effective.
BRILLIANT - no words - couldn't be better!!! THANK YOU FOR THE JOY!!!
What a beautiful lady - and what power in her "reined in" interpretation! Love this woman.
Fun rendition. The elegant, understated nature of this rendition works well for Phyllis (who has spent years learning how to be the perfect diplomat's wife). Obviously changed slightly for a cabaret venue. I find each rendition I listen to adds to my understanding of who Phyllis is.
Very apt and tender re: each rendition an addition and not a subtraction to the song. Thanks.
This very tall and stunning beauty graced motion picturescreens when I was a boy and never would I have guessed she could eventually become this magnificent character in musical theater 30 years later.
AGREED 💖💖💖💖💖
This is the way to do it! Many performers fall into the trap, I think, of emoting to the rafters with this song-veins bulging in their necks-and the song seems to go there but she left long ago-she sings this- this is just goodbye to him and the marriage.
Agreed. This is a woman who has already won the war and is dictating the terms of surrender. She remembers the emotional battles within her and the anger and sarcasm of those days bubble up out of a recognition that during the time she cared, it didn't alter the situation. Now, the relationship is encased in ice. Ms. Smith's interpretation expresses the sentiments of a person who doesn't need to fight any more, because she's come to grips with the fact that there is nothing there to fight for except the emotionless community property.
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alexis was an actress who's biggest fame came in the 40's when she starred opposite such people as cary grant, humphry bogart & erroyl flynn among others.
i'll never forget when she won the tony for this part in 1972. what joy!
however what i remember most of that night was how this elegant, beautiful woman exited stage left with tony in hand. she was like a 21 year old ingenue. lovely, sexy and one hot broad! i was only a kid then, but will never forget it.
alexis i still miss you!
Her rendition of this song you have to actually watch. You can't just listen to it otherwise it's just a "good" rendition. It's all in her eyes, facial expressions, and how she is moving her hands. It's over. This is all she has left to say and once she says it she is out.
I still think that Donna Murphy's version is my favorite though. She isn't going out peacefully in her version. She never wants to see or think about this man again and she wants him to know that with all her heart after all he has put her through silently. Jan Maxwell's version is similar.
I think all three are wonderful though.
It was written for her by Sondheim! No one else has been documented with her natural talent.
Miss Smith's performance is one of ultimate clarity.
Her voice is as agile, faithful to the music. Her command of the character breathtaking.
Other gifted performers have turned Leave You into a vengeance number and lost the audience.
Not Miss Alexis Smith.
I like her character all the more for her honest evaluation of a failed relationship.
BRAVA!
BRAVO!! Ms Smith takes this by the hand and serves it to us with brilliance!! Amazing! :D Awesome job, she OWNED the song. thanks for sharing
Brilliance! OBC Follies is the best Follies. I love how strangely the audience laughs at "Bet your ass." It kinda sounds like it's a laugh track.
The audience loved it! They gave her a standing ovation!
Thanks for pointing that out. I don't think we'd have known unless you told us. Sheesh.
@@DDumbrille Bitchy queen.
@@ryanscottlogan8459 Says someone with three pretentious names that sound like his mommy was watching a bad soap opera during delivery... :)
@@DDumbrille Hahaha
Think that might’ve just been her family way in the back
Just WONDERFUL. Great song, great performance.
Please bring back THESE TONYS!!!!
I've looked at many of the videos of this song and this is my favorite. If it seems rushed (as someone mentioned), it is because the orchestra speeded up, which I figured was what the composer intended. Angry versions I saw seemed shrill. Remember here that Alexis is playing to an audience, which necessarily changes the focus from pointed anger to a lighter performance that still is filled with irony and sarcasm in voice, facial expression and body language. I love it!
The best Phyllis ever.
Donna Murphy's Phyllis borders on hysterics (in a good way) because she's watching her life fall apart all the while slowly realizing she's tearing her husband to pieces and enjoying every second of it. Carol Burnett is very sarcastic throughout until "Just wait a goddamn minute" when it just all bursts out and she seems this close to saying "you take another step, I'll kill you and not feel a iota of remorse for it". Lee Remick is an ice queen with a volcano boiling underneath the surface, who's clearly trying to keep it together and succeeding, and knows by the end she's won.
Alexis Smith? I can see why she was Stephen Sondheim's favorite - she has more self-control and pose than even Lee Remick (who gave a fantastic performance, mind you), but it's mostly because she doesn't seem all that fazed by the situation, unlike the aforementioned performers. She's on top of it all during the entire thing and she knows it, and the entire number is basically "Bless Your Heart" in the best way possible.
Alexis Smith, a GD Texas Diamond!
I wouldn't be ME without you!
She not only sings the song, she lives it.
Encore!!! What a wonderful performance by an amazingly talented lady!! i just caught her again in Conflict (1945) co-starring Humphrey Bogart. She is stunning!!
my fav version of this song - Donna Murphy!
No one performs this song better, and no one probably ever will. The manner in which the elegant Alexis Smith mixes just the right amount of pathos and sarcasm into this performance is a master class. While "Follies" may not have had a long commercial run when it premiered in 1971, the exceptional score and the bravura performance of Miss Smith will be celebrated for many many years. Thrilled we have this clip to treasure.
Have you seen Donna Murphy's rendition? I think you may change your mind. They're both great but Murphy's is spectacular.
No. She overdoes it. Technically impressive I suppose, but just not the character.@@joycebagley7359
I miss Alexis Smith! After "Follies",she toured in "Applause with Pia Zadora,and "Pal Joey"with Joel Grey and Carole Bishop!
@Ed Miller l so wanted to see that production. I lived 50 miles from Dayton,and l couldn’t get there that week. There were a lot of great performances in summer stock.
She is simply perfect in this. Watch Lee Remick as well, two diverse and stunningly talented takes on a great Sondheim number
Love💝💝💝
Best
I agree, it does seem rushed, and that is a shame, because, otherwise, it is brilliant!
She's a natural perfectionist! Ask Joel McCrea, South of St. Louis she didn't even try to be that good, she's that good.
I always thought she sang this with an icy condescension that has never been matched in any other performance I've seen. It could be mistaken as emotionlessness, but I think that's because people have gotten used to women screaming this song.
Excellently put!
Agree. Character was blue chip and That was Alexis.
I just saw the video miniature and I mistaken her for Blanche from The Golden Girls 😂😂😂😂😂😂😂
I think the best Phillis I have ever heard is Dee Hoty. Smith just didn't have singing chops for the part, and her dancing ability was also only so so. One of my close friends was in the original cast, and she always says that the Tony should have gone to Dorothy Collins, who was superb in the more difficult part of Sally, although Phyllis is the showier part. My friend also says that Smith was not nice to the cast, and she was especially unkind to Collins during the entire run of the show.
When you marry an ice princess and she doesn’t want you anymore
@Shahrdad I agree about Collins and the role of Sally. She's a much more complex, though ultimately richer role. Usually, people tend to just go on and on about Phyllis. Hopefully, with Bernadette Peters as Sally, the new revival will cause audiences and critics to take notice of the tragic beauty in the Sally character.
my name is alexis smith
mine is too
She is a perfect example of a woman that aged well. It’s wonderful that she was married to the same man (Craig Steven’s)until she died but it’s sad that she had brain cancer. 😢
Does Carol Burnett sing this, too?
In the concert version, she sings "I"m Still Here."
Even though I prefer Donna Murphy's interpretation, there is definitely something to be said for the OG!
haha i got here from searching my name Alexis Smith thats my name lol
i agree...this song needs much more push and sarcasm.
once you've heard Donnas version all others sounds bleak
Phyllis Rogers Stone is classy, tactful, and above all, droll - not sarcastic and obvious. Donna's version is fine for a concert, but she overacts wildly.
I think Donna Murphy dos a spectacular job with the song. But lets not underrate the superbly cool interpretation of Alexis Smith. This is a great song and open to many different versions. Smith's Phyllis is more restrained and holds her cards closer to her chest - but that doesn't mean that she is not experiencing the pain and tragedy of a relationship that has brutally run its course.
Something's happened to this video. It's one of my favorites - can it be fixed?
@Ed Miller It's fixed.
and this is from some Tony Awards?
SOUND?????
Audio 🫨😖👎👎
Better to look at than to listen to.
U
I prefer Donna murphy version.. this is very stoic and emotionless
Yeah, that too- big laugh after " bet your arse" is clearly not produced by THAT audience.
it sounded that she is rushing the song.
Her and Dee have great voices and look stunning but there are so many laughs you could milk out of this song and they just aren't doing it. Donna and Carol's versions are amazing, they aren't so stiff and technical.
Yeah, they sound like chickens clucking.
Good performance, though.
there is no performance in this rendition. She delivered the lines without putting much emotions. I feel sorry for the audience having to applaud to such unprofessional effort.
this is kind of awful
Miss Smith's performance is one of ultimate clarity.
Her voice is as agile, faithful to the music. Her command of the character breathtaking.
Other gifted performers have turned Leave You into a vengeance number and lost the audience.
Not Miss Alexis Smith.
I like her character all the more for her honest evaluation of a failed relationship.
BRAVA!