The Broadway Theatre Review: Merrily We Roll Along

By Dennis W.

It only took more than forty years but Stephen Sondheim’s Merrily We Roll Along, brought over from the Menier Chocolate Factory production in London, has finally hit its stride rolling along on Broadway and bringing cheering audiences with it. Back in the day, Stephen Sondheim and George Furth’s 1981 flop about the lives and relationships of young adults growing up, which spanned 20 years left, audiences confused. The traditional format of a musical was abandoned by its creators, and Merrily in its own unique way, ran itself backward telling the story in reverse. It was a kind of “How did we get here?” but instead of going back to the beginning, it rewinds slowly, just a few years at a time, showing three friends navigating life in reverse. Instead of relationships diminishing, they get stronger and stronger as the friends get younger. It’s quirky but works.

The original production in 1981 only played 16 performances after the opening was delayed for weeks. The musical was panned by critics and audiences alike leaving theater seats empty. The book was rewritten (and rewritten) over the decades with Sondheim’s approval until it finally evolved into its current state. Making this reworking, brought to the Hudson Theatre from London’s West End by way of the New York Theatre Workshop, a solid Broadway big-time hit. And those ticket prices and availability reflect that.

The Sondheim score is musical champagne and caviar. It’s bubbly and effervescence in “It’s a Hit” and deliciously salty as in “Franklin Shepard, Inc..” It’s a winning Sondheim score that was recognized for its brilliance even when the musical flopped. Direction by Maria Friedman (West End’s High Society, Stepping Out) is open and breezy allowing the characters to easily float through two decades. The stark set and limited costumes by Soutra Gilmour (Broadway’s & Juliet, A Doll’s House) paint just the broadest idea of Frank’s modern Bel Air home which tasks the audience to fill in the blanks when the locations drift from place to place over the previous twenty years.

Merrily We Roll Along begins in 1976 where we find shallow movie producer Frank Shepherd, a once aspiring Broadway composer, played delightfully by Jonathan Groff (Broadway’s Hamilton, Spring Awakening) celebrating his latest success at a party with his Hollywood entourage. He’s abandoned his friends from the early years of his career to become a successful, A-list producer. He has everything he’s wanted but Frank is anything but happy as he appears to merrily roll along. Groff embraces the self-indulgent, self-centered Frank always sidestepping the rough patches in life even when he’s in the middle of one. Groff plays against type and is more than up to the challenge.

A friend from the old days who is still along for the ride is gal-pal Mary Flynn played longingly by Lindsay Mendez (Broadway’s Carousel) She cannot get past her love for Frank and has been not so patiently waiting in the wings for him to notice her. The once aspiring novelist turned critic soaks her remorse in alcohol and finally at Frank’s celebration bash an intoxicated Mary deep-sixes their relationship but, in the end, she is still wanting and waiting for him to love her. Mendez gives a touching and believable performance as we see the jaded critic transform into a successful novelist.

Filling out the trio is Daniel Radcliffe (Broadway’s How to Succeed in Business..; Old Vic’s Endgame) and his Charley Kringas. Radcliffe shows his wonderful range in the part with some physical slapstick comedy along with delivering the piercing “Franklin Shepard, Inc.” as Frank sits by staring into space writing off his one-time collaborator. The three principals take us on a wild and miraculous journey as we watch their disparate lives slowly become more and more entwined as we retrace their steps to those rooftop days of hope, optimism and what seemed like a lifelong bond.

Merrily We Roll Along is a lot like the plot of a Broadway musical “How do you turn a flop into a hit?” After twenty years of people not giving up on the show, all the pieces of the jigsaw puzzle have finally come together. The book still isn’t perfect but it works and the Sondheim score is nothing less than spectacular. Plus, the combination of the three talented principals, who bring their captivating characters fully to life, finally rolls this magnificent musical merrily along all together.