Merrily We Roll Along
It started out as a song… and went from massive Sondheim flop to sold out Off-Broadway run to one of the most anticipated shows of the Broadway season. “Merrily We Roll Along” began previews September 19th at the Hudson Theatre. There’s a reoccurring theme through the main characters’ eras, the difference of what you know in your head versus what you know in your heart. And in my heart, this show hit every beat. The reverse passage of time through their friendship, their struggles with growing up and growing apart, moved me to tears multiple times while also making me smile from ear to ear. Groff, Mendes, and Radcliffe have a natural chemistry, clearly fostered at the New York Theatre Workshop. The jump from black box to Broadway stage is a big one and in my head, this show has a lot left to grow into.
Despite my fervent efforts last fall, including a daily alarm for the lottery time and sitting outside the NYTW for hours on end, I was never able to catch this show Off-Broadway. When tickets went on sale for this round, I immediately snagged tickets to the third preview, justifying the cost as time already paid. The audience was buzzing with excitement as the overture began, with the orchestra cleverly placed on stage, hanging above the playing space behind windows that could reveal and conceal them depending on the scene. Soutra Gilmour’s scenic design was stunning from the first moment, a decadent apartment that shape-shifted seamlessly through the eras, first subtly with prop changes, to grander curtain drops and innovative reinventions. She also deserves credit for the cohesive and crisp costume design.
One of the main critiques from the 1981 debut of the show was the confusing timeline, with the reverse chronological order creating a confusing structure. It’s helpful that audiences forty-two years later are probably aware of this formula by now, but the playbill spells it out as well as the company counting down the years during each transition where the titular opening number is reprised ad nauseam. As a teenager, I sought out the soundtrack and fell in love, but you can only “see the pretty countryside” so many times before wishing for a change of tune.
The continued reprisal of tune I never tired of was “Old Friends.” It was one of the most joyous moments of the show, a masterclass in comedy by the leads who all held their own. Jonathon Groff as Franklin Shepard is the antagonist of the trio in the beginning, but his fault of ambition becomes more admirable as he transforms into a scrappy young New Yorker trying to make his way. A flawless performer, he has moments of such soft spoken intensity, where lesser actors would have faltered to screaming, that left the audience breathless. Daniel Radcliffe was someone I hadn’t gotten the pleasure to see on stage, but he garnered the loudest and longest applause for his Frank takedown song. Lastly, Lindsay Mendez has the most satisfying arc as Mary Flynn, beginning as hilariously washed up in 1976, and spending each era tightly holding on to her friends as a glue between the two men. She was sarcastic and dry, but the looks into her heart were often heartbreaking.
Outside of their all around stellar acting, the vocals were lackluster. Every character had moments that shined, but none of the success outweighed the awkward placements and barely tuned harmonies. For many of the actors, it appeared that they were cast in a range that didn’t quite suit their voice, but when that continually happened the entire run, I began to wonder if Sondheim’s orchestration was another one of the shows initial downfalls. Lindsay Mendez had zero moments where her Tony award winning voice sparkle. The other colossal failure came in the form of lighting design, which could be easily blamed on the previews still getting the kinks out, but it was too large of a distraction not to comment on. Almost every scene consisted of spotlights that couldn’t keep up with the actors, as well as full stage lighting that seemed to appear and vanish without any intention. In the final scene, there was an audible groan from the audience as a spotlight appeared to the right of the seated characters, clearly missing them but staying on for a whole verse before turning off mid chorus. Maria Friedman’s direction was delicious, but consisted of continuing, circular movement that isn’t conducive to a spot operator trying to keep up with every actor.
There are parts of this show that seem designed to fail, with a legacy of Sondheim’s biggest flop also ruining his relationship with directing partner, Hal Prince. It also appears destined for success, after a smashing Off-Broadway trial and a dream cast. I’m unsure where “Merrily We Roll Along,” will end up landing in the court of public and critical opinion. In my opinion, I will keep coming back for the celebration of friendship, the magnetic performances, and the hope of a replaced spot op.
https://merrilyonbroadway.com/
