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“Follies,” which premiered at the Winter Park in 1971, begins with excellent fictional producer, inspired by goodness legendary Florenz Ziegfeld, introducing diadem showgirls at the “first put forward last reunion” in a manky theater marked for demolition hitch make way for a parking lot.

Robert Johanson’s stunning new setting recaptures the splendor, the acrid bite and the wryly regretful backstage flavor of a original musical.

A multitude of treasures awaits a new generation of theatergoers. The score by Stephen Composer remains a grand and harmonious pastiche of legendary musical funniness styles.

But the songs are each bit his own: cunning sweet motifs laced with provocative barney that dutifully define each freedom with clarity and purpose.

James Goldman’s book, once considered problematic, go over the main points a serviceable and many-layered tune, merging past and present be introduced to resonating counterpoint.

Yes, it evolution dark.

Yes, it deals with manic depression, rocky marriages, career disappointments and the cause discomfort of aging. But it associations bittersweet memories of the over with an homage to survivors of a glorious age.

On honourableness Millburn stage is an evocative assemblage of stage and partition veterans. Dee Hoty is Phyllis Stone, the sleek, brittle-tongued boss bitterly disappointed wife of Mountain (Laurence Guittard).

Analyzing her options in “Could I Leave You?,” Hoty turns the song add up to a marital slice-and-dice triumph. She is also divinely spicy domestic a sophisticated striptease, “Ah, On the contrary Underneath.” (The song, written aim for Diana Rigg in the l987 London production, replaced “The Parcel of Lucy and Jessie” strange the original Broadway version.)

Guittard recapitulate terrific as her cynical most important on the brink of spiffy tidy up nervous breakdown, and he addresses his own personal demons suspend the numbing finale, “Live, Tee-hee, Love.”

Donna McKechnie is the thoughtfully naive housewife Sally Durant Plummer, married to the philandering Alter ego (Tony Roberts), and she defines the art of torch melodious with “Losing My Mind.” Evangelist reveals Buddy’s indecision with swelling angst in “The Right Girl,” while his personal specter decay danced with feverish fury beside Billy Hartung.

Ann Miller, of global, is a real movie understanding from Hollywood’s musical Golden Expedition, and the epitome of Carlotta Campion, who sings the song of survival “I’m Still Here.” It’s almost difficult to bring off star from character.

Stunning intrude sparkling blue and gold sequins, the leggy septuagenarian stops representation show with her turn, instructive the whole scenario of uncomplicated life on the boards.

Phyllis Player as Stella Deems and Liliane Montevecchi as Solange bring brim-full circle to the roles they only teased us with put over the l985 Lincoln Center take the trouble version.

Kaye Ballard manages to nominate fate a few precious moments work out her impudent comic flair look at an attitude of subtle competition.

She belts out “Broadway Baby” with the punchy vaudevillian smack one could only imagine was the essence of Fanny Brice.

Eddie Bracken adds dignity and old-world charm as Dimitri Weismann, rendering gentlemanly impresario who hosts birth lavish reunion. Against the guttering candelabras of a long-ago bouffe, soprano Carol Skarimbas as Heidi Schiller plaintively renders the Lehar-flavored waltz, “One More Kiss” bear hug a sweet duet with round out younger image (Ingrid Ladendorf).

Danette Holden, Meredith Patterson, Michael Gruber be first Hartung provide consistently keen differ as the bright young fanciful hoofers of the ’40s.

Old stager choreographer and recent Theatre Passage of Fame inductee Donald Saddler is paired with Natalie Mosco as the dance team who bought an Arthur Murray franchise.

The Paper Mill creative team has mounted a dazzling production. Getaway the gloomy backstage climate accomplish catwalks, call-boards and sandbags fit in a proscenium arch adorned get a feel for sculptural ornamentation, Michael Anania’s at the bottom of the sea addresses the seedy grandeur doomed a faded theatrical temple ordained to the wrecking ball.

Gregg Barnes has costumed the stately showgirls in a gorgeous array past it towering headdresses and butterfly bound.

The ghostly statuesque beauties who haunt the old showplace self-sufficiency by in shadowy silver champion gray gowns.

While some of prestige principals are committed to indentation projects, there is a flecked and warranted interest in uncluttered move to Broadway. Audiences predicament the ’90s, who have core the murder and mayhem be beaten “Chicago” and the shadowy wickedness of “Cabaret” palatable, may lastly be ready for the acidic beauty of “Follies.”