Although it has a gorgeous score by Steven Sondheim – with some songs that are among his very best – Merrily We Roll Along is nobody’s best work. Nor, to be completely fair, is it anybody’s worst. And it has always been thus. The 1934 Kaufman & Hart play on which the musical is loosely based received good notices but was not a commercial success, in marked contrast to their collaborations before and afterwards. The major stumbling block is the way both play and musical are structured – telling the story of broken friendships backwards, each scene taking place a few years before the previous one.
The unfortunate result of this approach is we first see the characters as cynical and a little bit nasty, which makes it hard to identify with them. On the other hand, the payoff for this approach is that, generally the show gets progressively more optimistic as it continues. This makes a lot of intriguing thematic points, but all told makes for very unsatisfying storytelling. Merrily We Roll Along is a problematic puzzle of a show, which does manage to enlighten and often entertain, while intractably evading solution.
The current Off-Broadway revival by Fiasco Theater and Roundabout gives a very lean and clear-eyed account of this story, and does well with the music, especially considering that some of the cast are more actor-singers than singer-actors. Noah Brody’s direction leans into Merrily‘s most dynamic element, which definitely helps. Recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.