Music and lyrics: Stephen Sondheim
Book: George Furth
Director: Kathrine Hare
Chronologically, Merrily We Roll Along falls between two masterpieces in the canon of Stephen Sondheim. It emerged at a time when the legendary composer/lyricist had reached his absolute peak, yet the 1981 musical achieved none of the initial Broadway success of Sweeney Todd, which preceded it, and Sunday in the Park With George, which followed it. Acclaimed London productions at the Donmar Warehouse in 2000 and the Menier Chocolate Factory (later West End) in 2012 helped to restore the show’s reputation.
Chronologically, the narrative of Merrily rolls along in reverse gear, possibly a reason why some audiences have struggled to grapple with it, and it presents many challenges to a company reviving it, not least to the National Youth Music Theatre (NYMT), performing here. Poignantly, friendships are fragmented and then formed, the disappointments and disillusion of middle age melt into the joyful optimism of youth.
George Furth’s book is adapted from a 1934 play of the same name by George S. Kaufman and Moss Hart, but it is believed that Sondheim saw the show as partly autobiographical. The story centres around the friendship of Franklin, Charley and Mary, formed when they are all in their early 20s. Franklin (Toby Owers) is a brilliant composer and he is a magnetic force, but he wallows in the trappings of his success and is careless with his personal relationships. Charley (Thomas Oxley), a lyricist who collaborates with Franklin to create hit musicals, is much more down-to-earth and Mary (Madeline Morgan) is a struggling writer.
Beginning in 1976, when success has brought its rewards and taken its tolls, the show traces the friendship back to 1960, when the Kennedys are newly elected to the White House and, in a similar fashion, the trio see themselves as “the movers…the shapers…the names in tomorrow’s papers”. Foreknowledge of outcomes drapes scene after scene with ironies which Sondheim exploits masterfully.
In the early stages, this production tends to become sluggish between songs and director Katherine Hare does not find the big performances needed to lift it; however, quite naturally, these young actors/singers grow in confidence as the show progresses. With a company of 27 accompanied by a superb orchestra of 11 players, Hare’s revival would be judged lavish by modern West End standards.
Numbers such as Old Friends and Our Time have become standards in the Sondheim songbook and the former will lend its title to a tribute show in honour of the great man coming to the West End in Autumn 2023. Most importantly, the singing here is flawless, showing full appreciation of the exquisite lyrics. In addition to the three leads, Matilda Shapland and Sophie Lagden have particularly striking solos.
One big regret is that NYMT’s production is here for five shows only. The consolation is that most of these rising stars should be around to entertain us for many years to come.
Runs until 26 August 2023
The Reviews Hub Score
Rolls back the years
