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Everything Was Possible: The Birth of the Musical Follies
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 ÊFolliesÊ. 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. ÊFolliesÊ was created by Stephen Sondheim Hal Prince Michael Bennett and James Goldman ä giants in the evolution of the Broadway musical and geniuses at the top of their game. ÊEverything Was PossibleÊ 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.
376 pages, Paperback
First published January 1, 2003
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About the author
Ted Chapin
10 books4 followersPresident of the Rodgers & Hammerstein Organization in New York.
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Displaying 1 - 30 of 98 reviews
September 23, 2008
It's time to come clean. I know this will come as a shock to all of you out there in "Goodreadsland" who look to me, Rolls Andre, as a paragon of virility and male potency; but, I must step out of the shadows of my secret shame and say unequivocally that I am absolutely mad about the musical theater. I'll scream my undying devotion from every rooftop in this dirty old town ‘til my voice is as shredded and worn out as Elaine Stritch's. I am a sucker for show tunes. There I've said it. Now the healing can begin. (For the record I also enjoy a warm bubble bath, a chilled bottle of presecco and novels by guys named Evelyn. Scoff if you must philistines!)
Any fans of the Broadway musical out there know that Stephen Sondheim is one of the greatest composers and lyricists who ever lived. His groundbreaking (and seat filling) shows include: “Company,” “Into the Woods,” “Sweeny Todd (my favorite musical of all time),” “A Funny Thing Happened on the Way to the Forum,” “Pacific Overtures,” “A Little Night Music,” and “Assassins.” Add to this illustrious roster the titles of two shows he “only” wrote lyrics for: “Gypsy” and “West Side Story” and the man’s claim to greatness is all but indisputable.
“Follies” stands apart from the other shows previously mentioned by being an artistic triumph but a commercial failure. Though it ran on Broadway for a year it lost every cent invested in it and then some. It was also the victim of an extraordinarily mixed reception by the critics. Some saw it as a harbinger of a new era in musical theater and applauded its many innovations. Others found it an elephantine bore and criticized its chilly book and (to their tin ears) pedestrian score and lyrics. Oddly, time has shown both camps to be in the right.
Mr. Chapin’s book is a loving backstage memoir depicting the many birth pangs associated with the creation of this “embarrassment of riches.” At the time he was an undergraduate theater student thrown into the arena with a bevy of battle scarred Broadway veterans clawing their way to a New York opening night for the intoxicating thrill of savoring one more hit. Remarkably his detailed account of the proceedings comes across as incredibly level headed and even handed for so young a writer. He handles the task of chronicling the “who, what, where, why and how” of all the chaos swirling around him like a dyed in the wool newsman and gives you the impression that you are there.
To be honest as much as I enjoyed this book I would have appreciated a little more dish on all the backstage bitchiness I know must have gone on. I can’t believe that in a cast of fifty-four (most of them women) there wasn’t even one decent cat fight. All in all though this is recommended to anyone who cares about where the musical theater has been and where it can still go.
Any fans of the Broadway musical out there know that Stephen Sondheim is one of the greatest composers and lyricists who ever lived. His groundbreaking (and seat filling) shows include: “Company,” “Into the Woods,” “Sweeny Todd (my favorite musical of all time),” “A Funny Thing Happened on the Way to the Forum,” “Pacific Overtures,” “A Little Night Music,” and “Assassins.” Add to this illustrious roster the titles of two shows he “only” wrote lyrics for: “Gypsy” and “West Side Story” and the man’s claim to greatness is all but indisputable.
“Follies” stands apart from the other shows previously mentioned by being an artistic triumph but a commercial failure. Though it ran on Broadway for a year it lost every cent invested in it and then some. It was also the victim of an extraordinarily mixed reception by the critics. Some saw it as a harbinger of a new era in musical theater and applauded its many innovations. Others found it an elephantine bore and criticized its chilly book and (to their tin ears) pedestrian score and lyrics. Oddly, time has shown both camps to be in the right.
Mr. Chapin’s book is a loving backstage memoir depicting the many birth pangs associated with the creation of this “embarrassment of riches.” At the time he was an undergraduate theater student thrown into the arena with a bevy of battle scarred Broadway veterans clawing their way to a New York opening night for the intoxicating thrill of savoring one more hit. Remarkably his detailed account of the proceedings comes across as incredibly level headed and even handed for so young a writer. He handles the task of chronicling the “who, what, where, why and how” of all the chaos swirling around him like a dyed in the wool newsman and gives you the impression that you are there.
To be honest as much as I enjoyed this book I would have appreciated a little more dish on all the backstage bitchiness I know must have gone on. I can’t believe that in a cast of fifty-four (most of them women) there wasn’t even one decent cat fight. All in all though this is recommended to anyone who cares about where the musical theater has been and where it can still go.
April 4, 2021
Oddly enough, I finished the book and am writing this review on April 4, 2021 - 50 years to the day from its opening night on Broadway in 1971. Although I never saw that production (too young!), I was a fan of the original (severely truncated) Original Cast Album ... and eventually got to see it a decade later in an amateur production that impressed, even at that lower level of expertise. And recently watched the film of the National Theatre's highly praised revival, which was also enjoyable, if problematic also. The work remains one of Sondheim's noble failures (see: Merrily We Roll Along; Anyone Can Whistle) that contain brilliant songs - in a book that just stubbornly refuses to 'work'.
Chapin's book provides an insider view on the creation of the musical, warts and all, as he documented the progress in a journal as part of his undergraduate work at the age of 20. He went back decades later to elaborate on that project, and fill in the gaps, publishing it in 2003, as what will probably remain the most detailed documentation of a Broadway show's origins. Therein lies both its strength and weakness - it's a fascinating reconstruction of all the hours devoted to getting everything just right, and even now has some juicy and hilarious gossip - but it often gets bogged down in minutiae that just isn't that thrilling. Still, as someone who once harbored dreams of directing on Broadway myself, I enjoyed this look at - as one of the show's songs puts it - 'the road I didn't take.'
Chapin's book provides an insider view on the creation of the musical, warts and all, as he documented the progress in a journal as part of his undergraduate work at the age of 20. He went back decades later to elaborate on that project, and fill in the gaps, publishing it in 2003, as what will probably remain the most detailed documentation of a Broadway show's origins. Therein lies both its strength and weakness - it's a fascinating reconstruction of all the hours devoted to getting everything just right, and even now has some juicy and hilarious gossip - but it often gets bogged down in minutiae that just isn't that thrilling. Still, as someone who once harbored dreams of directing on Broadway myself, I enjoyed this look at - as one of the show's songs puts it - 'the road I didn't take.'
October 26, 2010
I saw FOLLIES on April 14, 1971 (the Wednesday matinee), during the second week of its original Broadway run: The Winter Garden Theater, Orchestra, Row C, Seat 13. Yes, I still have my ticket-stub! I thought then - at fourteen years old - that it was the greatest show I'd ever seen on Broadway (and I had seen quite a few by then).
Thirty-nine years later, my opinion hasn't changed.
This is actually my second reading of Ted Chapin's excellent account of the creation of FOLLIES, from rehearsals to Opening Night (and beyond), it's an up close-and-personal view: a college student at the time, he was the production's 'gofer,' who performed any number of tasks that came up for just about anyone involved in the production, and since he was 'on the scene,' we get a fascinating look at the creative collaborative process that goes into the creation of a show. And the creative collaborators here are formidable - Producer/Director Hal Prince, Choreographer/Co-Director Michael Bennett, Librettist James Goldman, and the man who literally made the show sing, Stephen Sondheim.
The 'supporting cast' is huge too, with many names familiar to contemporary theater fans: Harold Hastings, Jonathan Tunick, Florence Klotz, Tharon Musser, Bob Avian, Graciela Danielle. And of course there was that cast: Alexis Smith, Gene Nelson, Dorothy Collins, John McMartin, Yvonne de Carlo, Mary McCarty (who five years later was the original "Matron 'Mama' Morton" in CHICAGO), Ethel Shutta, Fifi D'Orsay (who was bright and bubbly on the several occasions that I met her, but who was a pain in the ass in rehearsals and would positively hate me for listing her after Shutta). I knew very little about FOLLIES before I bought my ticket a month or more before it came to Broadway - I saw that stunning poster, the cast list, and Sondheim's name, and simply knew I had to see it, plain and simple.
Chapin kept a journal during the production, since he was actually going to turn the experience into a paper toward his college degree, and it obviously was invaluable in chronicling the show's process, and for who said what to whom. We learn, for instance, how Yvonne de Carlo's solo, "Can That Boy Fox-Trot" was worked and re-worked but couldn't be gotten to work (many of the show's cast actually had difficulty in learning and performing their numbers), so Sondheim wrote a new song. One of Chapin's 'gofer' jobs was to type up changes to the script, and changes to lyrics or lyrics for new songs (this in the days of electric typewriters and carbon paper - there were also many phone calls and a considerable amount of time spent schlepping around between hotels and offices to write down, pick up and deliver copies of songs and script in these pre-email days - imagine this expense at today's gasoline prices!). At one point Sondheim handed Chapin the only copy of the lyrics to the replacement song he'd just completed for "Foxtrot" - Chapin went upstairs and with a sense of amazement typed out the lyrics to "I'm Here," which, with a little bit of tweaking, became "I'm Still Here," a showstopper for de Carlo and one of Sondheim's best-known songs. And would you believe "Losing My Mind" was originally intended for Alexis Smith's character!
Chapin got his degree, by the way (and now heads the Rodgers and Hammerstein Organization) and decades later we got a fascinating not-to-be-missed account of one of the American Musical Theater's greatest - and most controversial - achievements.
Chapin dedicated Everything Was Possible “To the men and women of Follies , 1971.” Well, I feel like I was one of them!
Thirty-nine years later, my opinion hasn't changed.
This is actually my second reading of Ted Chapin's excellent account of the creation of FOLLIES, from rehearsals to Opening Night (and beyond), it's an up close-and-personal view: a college student at the time, he was the production's 'gofer,' who performed any number of tasks that came up for just about anyone involved in the production, and since he was 'on the scene,' we get a fascinating look at the creative collaborative process that goes into the creation of a show. And the creative collaborators here are formidable - Producer/Director Hal Prince, Choreographer/Co-Director Michael Bennett, Librettist James Goldman, and the man who literally made the show sing, Stephen Sondheim.
The 'supporting cast' is huge too, with many names familiar to contemporary theater fans: Harold Hastings, Jonathan Tunick, Florence Klotz, Tharon Musser, Bob Avian, Graciela Danielle. And of course there was that cast: Alexis Smith, Gene Nelson, Dorothy Collins, John McMartin, Yvonne de Carlo, Mary McCarty (who five years later was the original "Matron 'Mama' Morton" in CHICAGO), Ethel Shutta, Fifi D'Orsay (who was bright and bubbly on the several occasions that I met her, but who was a pain in the ass in rehearsals and would positively hate me for listing her after Shutta). I knew very little about FOLLIES before I bought my ticket a month or more before it came to Broadway - I saw that stunning poster, the cast list, and Sondheim's name, and simply knew I had to see it, plain and simple.
Chapin kept a journal during the production, since he was actually going to turn the experience into a paper toward his college degree, and it obviously was invaluable in chronicling the show's process, and for who said what to whom. We learn, for instance, how Yvonne de Carlo's solo, "Can That Boy Fox-Trot" was worked and re-worked but couldn't be gotten to work (many of the show's cast actually had difficulty in learning and performing their numbers), so Sondheim wrote a new song. One of Chapin's 'gofer' jobs was to type up changes to the script, and changes to lyrics or lyrics for new songs (this in the days of electric typewriters and carbon paper - there were also many phone calls and a considerable amount of time spent schlepping around between hotels and offices to write down, pick up and deliver copies of songs and script in these pre-email days - imagine this expense at today's gasoline prices!). At one point Sondheim handed Chapin the only copy of the lyrics to the replacement song he'd just completed for "Foxtrot" - Chapin went upstairs and with a sense of amazement typed out the lyrics to "I'm Here," which, with a little bit of tweaking, became "I'm Still Here," a showstopper for de Carlo and one of Sondheim's best-known songs. And would you believe "Losing My Mind" was originally intended for Alexis Smith's character!
Chapin got his degree, by the way (and now heads the Rodgers and Hammerstein Organization) and decades later we got a fascinating not-to-be-missed account of one of the American Musical Theater's greatest - and most controversial - achievements.
Chapin dedicated Everything Was Possible “To the men and women of Follies , 1971.” Well, I feel like I was one of them!
January 1, 2019
Follies holds a special place in my heart because it was the one that got away. I never saw the original, but listened to the (imperfect) cast album obsessively and did see a full production in the 1990's in San Jose. It fell between my two favorite musicals of all time (sorry, Hamilton): Company and Sweeney Todd. All Prince/Sondheim productions. I devoured this book. It could prove daunting to anyone not at least marginally familiar with the forces behind this work of art, and thanks to Ted Chapin for holding onto his notebook in which he detailed his experience as a behind-the-scenes gofer, and for providing this personal, in-depth view of the creative process, the pitfalls that went into this most complicated, challenging musical. He credits Prince and Sondheim as being supportive and agreeable to interviews for this book.
I remember one occasion when I had a chance to see Follies, but $25 was too steep a price at that time. Ironically, I think of current, far lesser musicals that are demanding and receiving ten times that amount today (not you, Hamilton), and wish I could return much as the ghostly Loveland figures to that time 40 years ago when it would have been possible to see Follies, the original.
I remember one occasion when I had a chance to see Follies, but $25 was too steep a price at that time. Ironically, I think of current, far lesser musicals that are demanding and receiving ten times that amount today (not you, Hamilton), and wish I could return much as the ghostly Loveland figures to that time 40 years ago when it would have been possible to see Follies, the original.
July 21, 2024
A really detailed, interesting, and engaging narrative of the creation of Follies! Fans of theatre and musical theatre will, of course, love this book. Next time I read it, I plan on making a “cast of characters” sheet for myself; the Follies cast was so large, let alone the creative team and crew members, that I did at times have trouble remembering who some of them were specifically. That did not take away from my enjoyment of the book though! Hal Prince in both director and producer roles at work was also a very interesting dynamic to read about.
I loved most the reminder of the realities of putting on a show: that when the cast & creatives are trying to make a commercial and artistic success, it’s constant and uncertain work. A lot of doing and redoing and redoing and not knowing what an audience will respond to. But they keep trying until the very final moments.
I loved most the reminder of the realities of putting on a show: that when the cast & creatives are trying to make a commercial and artistic success, it’s constant and uncertain work. A lot of doing and redoing and redoing and not knowing what an audience will respond to. But they keep trying until the very final moments.
July 28, 2007
Brilliant!! Go out and buy this book IMMEDIATELY!! At full price!!
August 26, 2021
This is an amazingly detailed day by day log of all that went into the production of the original musical “Follies” in 1971. If you love musical theater you will love this book.
December 10, 2023
This book gets 5 stars from me for the content included and 3 stars for the execution.
Much of the information presented here was taken from the author’s own journal which is an amazing resource to have, but the text was inconsistent in tone because of this. It alternated between a narrative story of his experience throughout the process with personal anecdotes and opinions and infodumping box office numbers, biographical information of the actors and creative staff, and other researched details. Both types of information were interesting and important to tell the story, but I think it’s possible that they could have been organized better for the flow of this book. Am I interested in hearing about the edits made to Follies after the first out-of-town tryout performance? Absolutely! But hearing all 16 edits read out as a numbered list with little context wasn’t the most exciting experience.
That being said, I really enjoyed this anyway! While in college the author was a production assistant for Follies during its pre-Broadway run in Boston and the previews on Broadway - what an amazing and unique experience! By the time I came to know it in the 2010s I think the public opinion about Follies had shifted to one of fondness and nostalgia, so it is very interesting to hear about the original production’s lukewarm reception from critics and audiences and how that affected the performers, creatives, and the show itself.
Chapin’s descriptions of the sets, costumes, and choreography here are excellently detailed. This made me wish I could travel back in time to experience the show myself, but since I can’t do that this does well to bridge the gap. I did look at the text edition of the book to check out the photos of the production that were included, which were much appreciated. More, please!
Also, Jonathan Groff narrating???? Give him more audiobook jobs ASAP because his voice is SO soothing.
Much of the information presented here was taken from the author’s own journal which is an amazing resource to have, but the text was inconsistent in tone because of this. It alternated between a narrative story of his experience throughout the process with personal anecdotes and opinions and infodumping box office numbers, biographical information of the actors and creative staff, and other researched details. Both types of information were interesting and important to tell the story, but I think it’s possible that they could have been organized better for the flow of this book. Am I interested in hearing about the edits made to Follies after the first out-of-town tryout performance? Absolutely! But hearing all 16 edits read out as a numbered list with little context wasn’t the most exciting experience.
That being said, I really enjoyed this anyway! While in college the author was a production assistant for Follies during its pre-Broadway run in Boston and the previews on Broadway - what an amazing and unique experience! By the time I came to know it in the 2010s I think the public opinion about Follies had shifted to one of fondness and nostalgia, so it is very interesting to hear about the original production’s lukewarm reception from critics and audiences and how that affected the performers, creatives, and the show itself.
Chapin’s descriptions of the sets, costumes, and choreography here are excellently detailed. This made me wish I could travel back in time to experience the show myself, but since I can’t do that this does well to bridge the gap. I did look at the text edition of the book to check out the photos of the production that were included, which were much appreciated. More, please!
Also, Jonathan Groff narrating???? Give him more audiobook jobs ASAP because his voice is SO soothing.
July 3, 2022
Both the author and Frank Rich (former theater critic of the New York Times who wrote the intro) are fans of this show but acknowledge that FOLLIES is a show that divides critics and audiences alike. I saw the 2011 Broadway revival and felt it failed to emotionally connect. I, however, read this book with interest. This is a book by an author who witnessed the birth of this show. It is interesting for the creative team was experimenting with the language of musical theater and willing to take risks. What struck me about this book was how stressful creating a new show can be. Once it gets in front of an audience at the first preview, numbers are cut, music, lighting, scenery, blocking, choreography and even costumes can change. The cast, crew and orchestra must rehearse changes during the day but must, perform the old version at night during previews. This is because the kinks must be worked out for the new version before it is presented to audiences. This must have been confusing for the cast (the oldest cast member was 76 in the original production). In live theater, no performance is ever the same and I learned no version of FOLLIES is the same. Even though I didn't like FOLLIES, this was an interesting read.
December 7, 2023
I love a good "peek behind the scenes" book, Ted Chapin's book on Follies is a masterful "peek behind the scenes." Chapin was a college-aged production assistant on the Stephen Sondheim musical, involved from almost the very beginning. Because he was getting college credit and was expected to write a paper at the end of his gig detailing his experiences, he kept a journal. He promises us at the beginning that each and everything someone says was culled from his journal, notes or college paper. This brings a delightful sense of minutiae to the book. Also in great detail takes from the very beginning to the very end of the show, and then back in again in 2021 to let us know what had happened during previous fifty years. At some point, I realized that almost every single person Chapin is writing about is long gone - Sondheim himself now - including those old showgirls who had actually BEEN in in actual, real follies productions. Any revival today (I read there is one opening Las Vegas in April 2024!) could never quite be like that first Follies, as no one alive today could have been a Ziegfield girl and remember those days. Also, Elaine Stritch was... well, lets say a problematic person. This was great, great fun if you love musical theater, and Jonathan Groff was perfect narrator. Although Groff himself is not a college student (he's nearing 40), his delivery sounded like one. I have no idea what Ted Chapin actually sounds like, but now he'll always sound like Jonathan Groff playing Ted Chapin.
June 30, 2018
This has been a favorite among theater people, my tribe, for years and years, but I was never really tempted to read it because (shocker!) I don’t actually know the show Follies that well. Well, something finally pushed me over the edge, and I’m so glad. Even though my knowledge of the show isn’t that thorough, this book is a delight, compelling and entertaining from start to finish. It is a thrilling depiction of the creation of a new musical, capturing much of the drama, the fear, the trial-and-error experimenting, the fun, and the heart. If you’re a theater lover, I daresay it’s a must-read.
January 22, 2018
Okay, this made me super jealous that my high school classmate Bob Higgins saw this show. Chapin kept a diary of his three months working as a production assistant on Follies - 30 years later, he turned it into a book. Great details about the number of changes and rewrites. Fascinating.
May 16, 2019
Highly recommended account of (as it says on the tin) the birth of "Follies", intriguing both to Sondheim and Follies fans like me and generally those who like to know what happened as a musical got going.
February 18, 2008
This is arguably the best book about musical theater. Ted Chapin worked as a gopher on Follies and wrote this book based on his experiences of the production. The book really captures the collaborative nature of theater and all of the struggles a production must go through to make it to Broadway. And of course, this production involved Stephen Sondheim, Hal Prince and Michael Bennett. If you like theater this book is a must read.
On a side note,Chapin, now the president of the Rodgers & Hammerstein Organization, came to one of my classes in college to talk about South Pacific. He's a great speaker - so if you ever get the chance to hear him talk it will definitely be worthwhile.
On a side note,Chapin, now the president of the Rodgers & Hammerstein Organization, came to one of my classes in college to talk about South Pacific. He's a great speaker - so if you ever get the chance to hear him talk it will definitely be worthwhile.
April 15, 2015
Comprehensive telling of the development of the musical Follies, from the minds of Stephen Sondheim and James Goldman, through its reinterpretation by the creative genius of director Hal Prince, into one of the most remarkable, landmark musicals in American theater. Chapin explains all the ins and outs of its production history and how it became one of the most underrated, yet most beloved musicals of all time. Prince's production is recalled in vivid detail, and the performances of the original cast are explored in tender detail.
August 4, 2012
This is like a dream of working on a Sondheim musical, only it was real! The ultimate wish fulfilment book for Broadway mavens.
March 20, 2021
Follies is, if not my absolute favorite, in the top 3 of my favorite musical theatre pieces. I saw the original production on Broadway four times. I've seen the 2001 and 2011 Broadway revivals, and quite a number of regional productions. To say I'm a tad obsessed with it would not be an overstatement. So, when I found out about this book which I never knew existed, I couldn't wait to get it and dive in. It was really everything I could have hope for it to be. It's basically a rewritten form of the detailed and exacting journal kept by Ted Chapin, the 20 year old Production Assistant (the 'gofer') of the original production from before the rehearsals started through the out-of-town Boston try-out and the Broadway previews and opening night.
If you like musical theatre, this is a must-read book. There is always talk about how much changes between starting the rehearsals for a new show and the finalized production of opening night. This book exhibits just how that happens. With the boxloads of thrown out materials (scripts, songs, scoring, characters) and re-choreography after painstaking rehearsals to learn a number and new staging and direction and lines for scenes that were presumes 'set.' Changes (which are expensive) to the sets and costumes. Changes (which are emotional) to the casting). Although this book is specifically about the production of Follies, you needn't be familiar - or even like - the piece to get a heck of a lot from this book. It is a behind-the-scenes look at the process of theatre geniuses (and what else can you call Stephen Sondheim, Hal Prince and Michael Bennett?) doing what they do better than anybody else.
If you have no interest in the musical theatre, this book is not going to hold anything for you at all. But, if you love theatre - especially musical theatre - this is one terrific book to read. I tried to read it slowly so I could bask in the reflected talent I was reading about. But, I found it impossible to put down and in two evenings I finished it. It's a very easy book to read - Chapin, the author/narrator, is quite personable and makes the arduous and treacherous journey to Broadway magic enjoyable and educational. I know it's very rare for me to ever give a book 5 ☆☆☆☆☆, as I consider a 5 a close-to-perfect book. And I certainly can't compare this book to Don Quixote or Anna Karenina or Beloved or To Kill a Mockingbird as far as literature; however, it totally succeeds at the goals it has set for itself. I recommend it without reservation.
If you like musical theatre, this is a must-read book. There is always talk about how much changes between starting the rehearsals for a new show and the finalized production of opening night. This book exhibits just how that happens. With the boxloads of thrown out materials (scripts, songs, scoring, characters) and re-choreography after painstaking rehearsals to learn a number and new staging and direction and lines for scenes that were presumes 'set.' Changes (which are expensive) to the sets and costumes. Changes (which are emotional) to the casting). Although this book is specifically about the production of Follies, you needn't be familiar - or even like - the piece to get a heck of a lot from this book. It is a behind-the-scenes look at the process of theatre geniuses (and what else can you call Stephen Sondheim, Hal Prince and Michael Bennett?) doing what they do better than anybody else.
If you have no interest in the musical theatre, this book is not going to hold anything for you at all. But, if you love theatre - especially musical theatre - this is one terrific book to read. I tried to read it slowly so I could bask in the reflected talent I was reading about. But, I found it impossible to put down and in two evenings I finished it. It's a very easy book to read - Chapin, the author/narrator, is quite personable and makes the arduous and treacherous journey to Broadway magic enjoyable and educational. I know it's very rare for me to ever give a book 5 ☆☆☆☆☆, as I consider a 5 a close-to-perfect book. And I certainly can't compare this book to Don Quixote or Anna Karenina or Beloved or To Kill a Mockingbird as far as literature; however, it totally succeeds at the goals it has set for itself. I recommend it without reservation.
May 31, 2025
“Follies” is probably my favorite musical so this was a great audiobook for me. It was thrilling to hear about the Boston tryouts and the other shows that were on at that time, especially a misbegotten musical with Angela Lansbury called “Prettybelle” where she’s the wife of a racist southern sheriff. The struggles they had with Yvonne DeCarlo’s big number, “Can That Boy Foxtrot” which didn’t get replaced with “I’m Still Here” until midway through Boston. Same with Alexis Smith’s Loveland number, “The Story of Lucy and Jessie” which had been a song called “Uptown/Downtown”.
The reason I listened the book at this time is because I’m going to a production of “Marry Me a Little” which is a Sondheim revue of songs cut from his musicals prior to 1975. It’s great to know some history of a few of the songs. Plus so much more... If the same costumes were done today, they would cost over $2 million, and some of the fabrics aren't even made anymore. There was a lot of work and drama behind Alexis' red gown, but it is absolutely perfect for Phyllis and I find that costuming Phyllis is always a problem for British productions (I loved Jan Maxwell's gown in 2011, however). A local college kid named Frank Rich reviewed the Boston tryouts and instantly got what the show was trying to do, even if it wasn't successful at doing it yet. His review in many ways seemed to say what the show was going to become. He became a part of the Sondheim family and an illustrious career was born.
As the Broadway debut approaches, the tension ratchets up. Gene Nelson’s kid is in a coma on the west coast and he may have to go. Alexis a terrible cold and can barely croak through her songs and can’t hit the bigger notes in “Could I Leave You?” All this as critics are starting to see previews and are encouraged to see the opening night in addition.
Never occured to me: "Who's That Woman?" is one of the most rousing numbers I've ever seen in a show, and although it's magic for an audience, it's murder on the actors. Take at least 5 of the leads, all women of a certain age, try to get them to dance like they were in their 20s, in time with actual women in their 20s, and in this case, on a raked stage and in an evening gown. It needed to be rehearsed constantly and anyone would get sick of it. Especially if you're one of the leads and you're being reduced to a supporting singer/dancer in someone else's song!
The reason I listened the book at this time is because I’m going to a production of “Marry Me a Little” which is a Sondheim revue of songs cut from his musicals prior to 1975. It’s great to know some history of a few of the songs. Plus so much more... If the same costumes were done today, they would cost over $2 million, and some of the fabrics aren't even made anymore. There was a lot of work and drama behind Alexis' red gown, but it is absolutely perfect for Phyllis and I find that costuming Phyllis is always a problem for British productions (I loved Jan Maxwell's gown in 2011, however). A local college kid named Frank Rich reviewed the Boston tryouts and instantly got what the show was trying to do, even if it wasn't successful at doing it yet. His review in many ways seemed to say what the show was going to become. He became a part of the Sondheim family and an illustrious career was born.
As the Broadway debut approaches, the tension ratchets up. Gene Nelson’s kid is in a coma on the west coast and he may have to go. Alexis a terrible cold and can barely croak through her songs and can’t hit the bigger notes in “Could I Leave You?” All this as critics are starting to see previews and are encouraged to see the opening night in addition.
Never occured to me: "Who's That Woman?" is one of the most rousing numbers I've ever seen in a show, and although it's magic for an audience, it's murder on the actors. Take at least 5 of the leads, all women of a certain age, try to get them to dance like they were in their 20s, in time with actual women in their 20s, and in this case, on a raked stage and in an evening gown. It needed to be rehearsed constantly and anyone would get sick of it. Especially if you're one of the leads and you're being reduced to a supporting singer/dancer in someone else's song!
November 1, 2019
Ever since finishing undergrad one of the classes I missed the most was "The History of Broadway" because I could finally put all that nerding out to the test (literally). One embarrassingly low A- later and I was a certified nerd having scratched that itch of wanting to learn more about the Broadway history. Since then I have still kept up to date on the subject mainly through tumblr and generic internet browsing but foolishly never through non fiction. This book has been collecting digital dust on my library’s bibliocommons for-later shelf for a couple years and now that I’ve actually read it I know I will be going back for more Broadway non-fiction. Everything Was Possible isn’t exactly literarily or artistically exciting, it chronicles the original Broadway production of Follies in a detailed manner starting with rehearsals, then out of town and New York previews with publicity shots throughout the book. There are a lot of moving pieces to a new musical so it was challenging in the beginning to learn the the names of everyone associated with the production but it is otherwise a very easy read regardless of your knowledge of the industry. Ted Chapin was clearly a privileged young man to be able to work on this production, even thought it was clearly round the clock work, he was only afforded the opportunity through family ties which was sort of disapointing. Additionally, Follies is a misunderstood show and this book doesn’t tell you how to interpret the show; it gives you some detailed directorial intentions but doesn't begin to theorize. Part of me appreciated this and part of me was disappointed that it didn't help clarify the artistic intentions a little better. All in all, I can think of no better way to get to know a production than through Ted Chapin's story and would recommend this to anyone who likes Follies or musical theatre in general.
March 5, 2017
Ted Chapin’s Everything Was Possible: The Birth of the Musical Follies is a must-read book. It would appeal to anyone who loves musical theater or theater in general; to Stephen Sondheim aficionados; to those who are awed by the careers and talents of Hal Prince and Michael Bennett; to those who have fond memories of the original stars of the show, Alexis Smith, Dorothy Collins, Gene Nelson, and Yvonne de Carlo; to anyone who wants a primer on creating a show from inception to performance and on to cast album; and, indeed, to anyone who wants to see the creation of a landmark musical through the eyes of someone who was intimately involved, the author Ted Chapin—now head of the Rodgers and Hammerstein organization—who was a college student at the time and a production assistant on this show. Using his personal memories, his diaries, and interviews, Chapin recounts the creative process from beginning to Broadway opening, and, in an afterword, beyond. It is fascinating to see how Follies was put together from a show that was not even completely written when it went into rehearsals to a show that got some glowing reviews, some mixed reviews, and some pans—but entered theater history as a monumental achievement and a valuable member of the pantheon of Broadway shows that made a difference in the theater. We see the ups and downs, the songs that were cut, the writing of new ones, the bickering among the performers, the love among the performers, the insecurities of the performers, and we realize that a Broadway show is a like a family, a family with warts that, in the end, don’t really matter because each member of the family, warts and all, has contributed to something special, flawed or otherwise.
June 25, 2019
I bought this book when it came out in 2003--I was in college and had already seen two professional productions of Follies: Papermill Playhouse in 1998 and the Roundabout Theatre Company revival in 2001. I already knew all the songs by heart and had performed many of them in high school concerts and recitals. I have always listed Follies in my top tier of favorite musicals. It's a wonder, then, that I waited until now to read Everything was Possible: The Birth of the Musical Follies, which I just finished tonight. But maybe it's appropriate that I read it now, 16 years and 3 more productions later, when my love of Follies had begun to fade. The last time I saw it, the script felt dated and I questioned whether the show was even worth doing without the kind of theater stars that don't really exist anymore. I was nostalgic for my early years of loving this show and feeling its magic, and for those who don't know, Follies is very much about nostalgia and the interplay of the past, present, and future. Even if I never again see Follies as when I saw it in 1998 at Papermill, or see it again at all, this book brought me back to loving it. Ted Chapin infuses a first-hand account, full of the excitement and emotion of experience, with research and fact. As a result, Follies' road to Broadway (and to existence) feels lived-in, like we really are right there along with it, even though he's telling the story from the present, which is now 16 years int the past, and looking back about 30 years prior. I'm glad I finally got myself to read it... before it became one of Ben's "books I'll never read."
May 6, 2018
The WSJ book review had a column on “Songs of the American Century” (Sat/Sun April 7-8, 2018) and I decided to give several of the recommendations a try. My first,Ted Chapin’s “Everything Was Possible,” is a detailed (and I mean that very literally) account of the evolution and staging of the Sondheim/Prince 1971 musical, “Follies.” The show, to me, is a hit and miss affair, so it’s really interesting to read about how much was revised, tweaked, changed, scrapped, reinserted and altered as the show moved from conception through rehearsals, to out of town try out and then, finally, on to Broadway, to decidedly mixed reviews. What an incredibly laborious process! It’s kind of a testament to how much one must be devoted to the theater to even make it through this grueling trial. I felt like the minute, incremental details of the book were quite mundane, but somehow, I couldn’t put the book down and stayed up late several nights to finish it. It’s a perfect parallel to the show, which is a mess, but simultaneously, you can’t look away because it’s so honest and moving. There’s a Youtube video "reconstruction" with the original cast members that, for me, was an essential accompaniment to the book. https://www.youtube.com/watch?v=uTD9H...
February 10, 2023
This book was SO. LONG. WHY. And there were SO MANY RHETORICAL QUESTIONS THAT WERE NOT NEEDED!!! It got so flat and so boring. I was all for it when I started it but then it just dragged on and on and it was hard to sit through. I had to read this for my history class so I couldn’t give up on it.
Alright, now that the negative stuff is out of the way, I do have to say that I liked getting the entire behind-the-scenes aspect on Follies. I mean to be able to sit in the same room with Stephen Sondheim, Hal Prince, AND Michael Bennett (and many others) is astonishing and I am so grateful he shared this story with the world. And I’m not the biggest fan of Follies but, honestly, after reading this, I’m willing to give it a fair chance and I cannot wait to do so.
The new afterword hurt to read :( it’s so sad after it now being a year of losing Sondheim but it’s so so wonderful to have his gifts that he gave us and I am truly happy to have gotten acquainted with his work. It’ll always stick with me and it makes me wanna learn more about his work.
If I could give this 3.5 stars, I would. Unfortunately, Goodreads doesn’t do that. But, all-in-all, not a bad read. Not my favorite but not bad. As the final sentence of the book states, “it’s still here”. And it always will be :).
Alright, now that the negative stuff is out of the way, I do have to say that I liked getting the entire behind-the-scenes aspect on Follies. I mean to be able to sit in the same room with Stephen Sondheim, Hal Prince, AND Michael Bennett (and many others) is astonishing and I am so grateful he shared this story with the world. And I’m not the biggest fan of Follies but, honestly, after reading this, I’m willing to give it a fair chance and I cannot wait to do so.
The new afterword hurt to read :( it’s so sad after it now being a year of losing Sondheim but it’s so so wonderful to have his gifts that he gave us and I am truly happy to have gotten acquainted with his work. It’ll always stick with me and it makes me wanna learn more about his work.
If I could give this 3.5 stars, I would. Unfortunately, Goodreads doesn’t do that. But, all-in-all, not a bad read. Not my favorite but not bad. As the final sentence of the book states, “it’s still here”. And it always will be :).
This entire review has been hidden because of spoilers.
May 4, 2025
I finished listening to this audiobook yesterday. It was terrific! Ted Chapin, the author, was a 20 year old “Go-For” to the original Broadway production of Follies from the very first day. He kept a thorough journal of his experience. It was fascinating to learn every detail about how the musical was written, composed, staged, choreographed, cast and costumed. The number of songs or lines written, revised, scrapped or replaced even after the Boston tryout was over and it opened on Broadway was a stunning amount. Also, as the show featured a lot of older performers in the cast, it was interesting to learn how they rehearsed and what they endured. Also, this was Sondheim’s next venture after Company, so there were a few juicy bits about Company in there too, which was nice for me as I'm in rehearsals for that show. 🤗
Anyway, I highly recommend this to theater fans, especially if you love Sondheim musicals. And it’s read by Jonathan Groff, so that’s pretty nice too. 😍
Anyway, I highly recommend this to theater fans, especially if you love Sondheim musicals. And it’s read by Jonathan Groff, so that’s pretty nice too. 😍
June 3, 2025
Follies was innovative and considered ahead of its time. Chapin offers us a front row seat in the makings of this new musical. With Hal Prince, Steven Sondheim and Michael Bennett at the helm, we are offered a glimpse at the creative processes of some of the most inventive artists that helped shape Broadway in the 1970's (and 1980's). While Chapin was just a college student and admits he was a lowly gofer for the show, his eye was already finely-tuned to the workings of a theatrical endeavor. As someone who was also a college student at that time (and blown away by the production of Follies), this insider look at the creation of a new musical gives you an opportunity to see how finely-tuned the process is. Nothing is willy-nilly, you take nothing for granted and you work, clarify and update right until the overture plays on opening night. The book offers an appreciation of what goes into creating "the great American musical." You may never view a musical the same again.
December 28, 2019
This was an interesting and thoroughly entertaining read. Other than maybe Gypsy, Follies is my absolute favorite musical - who doesn't love seeing a bunch of middle-aged people have a collective mental breakdown underlined with flashily ironic musical numbers? It's amazing, as is the story of how it came to be.
But I have to admit, for a book that is constantly held up as the best, or at least one of the best, about musical theatre, this was really just okay. It was limited to only Chapin's perspective, and while of course that's the whole idea, I really would like to have gotten a more holistic view. The writing was gripping but bland, and I think a few more full-color photographs wouldn't have hurt. For what it is, it is pretty good, but that leads me to ask - is this the best we're going to get?
But I have to admit, for a book that is constantly held up as the best, or at least one of the best, about musical theatre, this was really just okay. It was limited to only Chapin's perspective, and while of course that's the whole idea, I really would like to have gotten a more holistic view. The writing was gripping but bland, and I think a few more full-color photographs wouldn't have hurt. For what it is, it is pretty good, but that leads me to ask - is this the best we're going to get?
August 23, 2020
This was recommended to me earlier in the year by other stage managers. It was fun to read for both the dramaturgical aspects as well as the almost-stage management aspect. I do miss live theatre and working in it. The author worked as a production assistant for the original Broadway production of Follies. It was interesting to hear things about the SM staff that perked my ears/brain...some that I'm sure he was right about and have changed (stage managers also dancing and/or acting), but other rules about what Equity people did behind closed doors that he wasn't involved didn't really ring as true. (I doubt they went through EVERY rule during the first day Equity meeting...even then, I think the contract was many many pages.) I received this book from an SM book club pass around, but I may end up buying a copy for myself after I pass this along to the next person.
April 30, 2021
This. Was. Fun. Ted Chapin tells an excellent, detailed tale of some of the most famous names in Broadway and how they put together this groundbreaking show. I’ve never been fortunate enough to see a production of Follies but grew up very familiar with the Original Cast album from being raised by Broadway fan parents and always loved the music and story. Being involved in various casts and crews in theatrical productions in the community I had to appreciate some of the challenges (at a much larger scale) that were covered. Tech week! Costume disasters! Last minute cast replacements! I really enjoyed the “dish” on the relationships between the actors and between the production staff. Chapin told it like it was without making it nasty. Kudos to him for his meticulous note taking so he could share this marvelous story with us!
December 26, 2021
I considered myself a somewhat informed theater fan. I know many people in various aspects of the trade, so I thought I understood what it took to mount a professional production. After reading this book, I realize I had no idea. This is a must-read for anyone who loves theater. I learned so much about the production process by reading this book. I also learned a ton about productions of musicals that didn't make it (someone tried to make a musical version of Lolita. Yes, THAT Lolita), and a little bit about the ones that did. Reading this you'll get far more insight about the stars of the show, Michael Bennett's process and Hal Prince's process. Stephen Sondheim is a bit more of a ghost, making fleeting appearances. However, fans of the theater, students of it, and fans of Follies should get their hands on this book right away.
May 7, 2019
Ted Chapin's experience as a production assistant for the original production of Follies forms the basis for his narrative of the musical's birth. He has a clear writing style, and it's easy to follow his narrative, even if at times he expects us to juggle 20-30 actors, technicians, creative team members and assorted hangers-on. The book has the expected insider anecdotes, but isn't really a tell-all of the feuds or personalities behind the show. His combined role of PA and student observer of the show comes through in his telling of the tale - a mixture of petty squabbles and analysis of the direction of the show and its significance. I'd definitely recommend it for fans of musical theater.
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