Karole Foreman’s Powerful Performance in FOLLIES at the CYGNET in San Diego

The Southern Truth

By Dr. Gloria Zuurveen, Editor-in-Chief

What a marvelous time it was to be in San Diego — my first time back in quite a while — and let me tell you, it couldn’t have been on a more beautiful day. Now, getting there was another story. The 5 freeway was backed up for miles because the federal government was celebrating the anniversary of Camp Pendleton, and traffic came to a standstill. Marines were everywhere but still, despite the delays and detours, we pressed on. The sun was still shining bright, the air was pure, and by God’s grace, we made it just in time to catch the beginning of something truly special.

The invitation came from none other than the renowned international curator to the stars, Julienne Johnson — one half of the dynamic husband-and-wife team JohnsonEdwards, known across the globe for their visionary event planning and their Christ-centered professionalism. If there’s a major event wrapped in class, creativity, and heart, chances are JohnsonEdwards had a hand in it.  With over 30 years of experience producing some of the most spectacular events in the U.S. and Europe, their client list reads like a Who’s Who of Hollywood and high society — from Barbra Streisand, Elizabeth Taylor, and Bruce Willis & Demi Moore, to Brad Pitt, Kenny Edmonds, Jane Fonda, and Geena Davis.

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So when Julienne told me I had to see FOLLIES at the CYGNET Theatre in San Diego, I knew it was going to be something extraordinary. And it was.

From the opening act, the stage came alive with color, sound, and spirit. FOLLIES, a Stephen Sondheim Broadway classic, tells the story of a reunion of former showgirls returning to their old theater before it’s torn down.

As Erin Marie Reiter observed in her September 16, 2025 review for BroadwayWorld, the story centers on two couples whose friendships and affections have weathered the test of time. There’s Phoenix housewife Sally Durant Plummer (Sandy Campbell) and her husband Buddy (Russell Garrett), along with East Coast socialites Phyllis Stone (Karole Foreman) and Benjamin Stone (David S. Humphrey). Once inseparable, these four now find themselves confronting old memories, lost dreams, and the uneasy truths of love and regret. Sally still carries a lingering affection for Ben, even as his marriage to Phyllis begins to show cracks beneath its polished surface.

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Around them, a colorful cast of former Follies performers returns to the stage — each bringing their own story and style: Carlotta (Leigh Scarritt), the movie star who made it big; Stella (Melinda Gilb), still full of rhythm and spark; Hattie (Patti Goodwin), charming and ever resilient; Solange (Anise Ritchie), as lively as ever; the regal soprano Heidi (Dagmar Krause Fields); and the cheerful tap duo Theodore and Emily (Eddie Yaroch and Naughton). Together, they revive the glamour and nostalgia of show business, weaving a vivid tapestry of memories, dreams, and second chances.

But for me, the real magic that afternoon was Karole Foreman. Let me say this with all the Southern Truth I’ve got in me — Karole Foreman was the show. Her performance wasn’t just acting; it was living. As Phyllis Stone, she embodied elegance, intellect, and emotional depth all at once. She pulled from the depths of her soul and gave life to her character in a way that felt so real it brought tears to my eyes.

When I met her afterward, I said, “Karole, you brought tears to my eyes. Your performance was fabulous.” And I meant every word.

The production as a whole was a feast for the senses — the costumes, the choreography, and the music that carried us through the decades from the roaring ’20s to the reflective ’70s. It was nostalgia wrapped in wisdom, with every vignette reminding us that life is a blend of the bitter and the sweet. And through it all, if we can forgive and keep moving forward, we all come out winning in the end.

As I sat there in that beautiful San Diego theater during that unforgettable matinee, surrounded by talent, creativity, and God-given purpose, I realized something: live theater still matters. In a world obsessed with screens and streams, there’s nothing like being up close and personal with art that speaks from the stage straight to your spirit.

Karole Foreman did that — she ministered through her art. And for that, I say thank you. Yes, it was a powerful afternoon of truth, beauty, and soul — the kind that stays with you long after the lights fade and the applause dies down.

That’s the Southern Truth.