Goodman on form in Follies

In the Friends Reunited era, the message of Follies seems more pertinent than ever. The past is another country you may not want to revisit.

The reunion of the Weissman Follies dancers in their old theatre is supposed to be an evening of light-hearted reminiscences but turns into an emotional minefield of friends, enemies, lovers and loathers reunited.

From the outset it has about as much relaxed informality as Abigail's Party and the acidic putdowns soon flow as easily as the tunes.

The story focuses on the Stones and the Plummers, two couples whose pasts and presents overlap with regrettable consequences.

Broadway's loss is London's gain as Henry Goodman, famously sacked from The Producers, depicts Buddy Plummer watching his marriage to Kathryn Evans crumble before his eyes.

Goodman movingly portrays a man facing a sad and bitter truth about his relationship and it leaves you wondering what he ever did to those New York Producers.

But Louise Gold and David Durham as loveless couple Phyllis and Ben Stone are the outstanding cast members, having most of the emotional meat of the script.

It ends with the central characters sitting in a crumbling empty theatre bemoaning the lack of love and appreciation - not in the audience, but in their lives.

And just in case anyone missed the symbolism, one of the characters says straight out there is no hope and life is what you make of it.

So hardly the feel good story of the year, but if anyone can make entertainment out of an evening of disillusioned disappointment in a crumbling building, it is Stephen Sondheim.

The soundtrack is packed with expertly performed classics. Joan Savage's Broadway Baby is as spangly, high-kicking and boa-twirling a show-stopper as you will ever hear.

And the chorus line of Who's That Woman resembles a Beryl Cook painting.

The outraged sarcasm of Could I Leave You is the most scathing song of breakdown since Bob Dylan's Positively 4th Street and Losing My Mind is heartbreaking.

The staging is spectacular, with the inside of the Festival Hall convincingly transformed into a dilapidated theatre.

Throughout the play the characters are followed on stage by actors playing their pale younger selves and the clever use of shadows and cobweb-like drapes conjures up a Miss Havisham-like atmosphere.

The double meaning of the title and the imagery of the crumbling theatre relating to the lives and dreams on stage is obvious, and it makes no pretence at being a feel-good piece.

Whilst their journey into the past only brings sorrow for the characters, this journey into Sondheim's past only brings joy to the audience.

Follies is at the Royal Festival Hall until 31 August 2002.