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REVIEW: ‘Merrily We Roll Along’ rolls along again

merrily021112_optStephen Sondheim musical about the reversals of friendship returns via Encores!

BY MICHAEL SOMMERS
NEWJERSEYNEWSROOM.COM
OFF BROADWAY REVIEW

The short-lived Broadway production of “Merrily We Roll Along” in 1981 revealed a terrific Stephen Sondheim score, a troublesome script and a terribly messy staging.

The Encores! concert version of “Merrily We Roll Along,” which opened Wednesday at New York City Center, presents a terrific Sondheim score, a somewhat revised script and a fairly able staging.

Even with these improvements, the musical is challenging for anyone to appreciate on a first viewing. Drawn from a Kaufman & Hart play, George Furth’s book traces 20 years in the lives of three friends but does so by moving backwards in time.

When the show begins in 1976, middle-aged Frank is a former Broadway composer who has deserted music to be a crass movie producer. His former collaborator, Charlie, is an acclaimed playwright now bitterly estranged from Frank. Their chum Mary – hopelessly in love with Frank – enjoyed success as a novelist but has since become a lonely drunk.

In reverse chronology, the story reveals their various milestones – break-ups, marriages, conflicts, successes, early struggles – until concluding in 1957 when the three first meet each other on a rooftop as they await the wonder of watching Sputnik streak across the sky. Knowing as we do how their entwined lives will twist and turn out, their youthful hopefulness is poignant.

The problem with the libretto is that much of the story – especially the first act – is miserable in spirits while the chronology is somewhat hard to follow initially. Once the entire arc of the story is understood, then the musical’s bittersweet beauty and complexity can be enjoyed on subsequent viewings. merrilyroll021112_opt

So, unlike so many things in life, “Merrily We Roll Along” is better the second time around. The score’s interwoven melodies are cunningly composed and often haunting, featuring such breakout songs as the burning “Not a Day Goes By” (fervently sung here by Betsy Wolfe as Frank’s first wife) and the affable “Old Friends.” My favorite always has been the rueful “Like It Was.”

Fortunately, many viewers attending the Encores! production probably will be familiar with the show. As one who saw both the original and the York Theatre’s lovely revival in 1994, it seems to me that this latest version might be over-fixed. The predatory diva Gussie – Frank’s second wife – has been amplified and while Elizabeth Stanley adeptly untangles her coils, the lady’s extra presence weights down the plot.



 

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