Merrily We Roll Along - Spoiler Free Review
7.5 out of 10 stars: A solid fun-filled outing!
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Merrily We Roll Along begins in the present and moves backwards, tracing the lives of wealthy, jaded composer Franklin Shepard and his two estranged friends through each milestone of their personal and professional lives (good and bad). It is not surprising that The G&S Society of SA deliver a successful production full of talent and future stars. Matt Smith (Director), Matthew Rumley (MD), and Lucy Newman (Choreographer) have built a stellar version of Sondheim's semi-autobiography.
Nicholas Munday plays the adulterous role of Franklin Shepard with the appropriate classiness expected and portrays the reverse-character development with a drive that ensures Shepard can do what we wants, when he wants. Munday’s relationships onstage with his co-stars are comical in the right moments, as well as sweet or dramatic in their appropriate places.
Deon Martino-Williams, as Charley Kringas is fun to watch. As a submissive character to Shepard who wants to do right, Martino-Williams plays this role well. His song, Franklin Shepard, Inc. is a hoot, and a crowd favourite. Not only does this musical focus on Shepard’s life, it also gives substance into the life of Charley, and it is really rewarding to finally get to meet the often-mentioned wife in the final scene when they first meet.
Upon finding out that Mary Flynn is the best friend and closest confidant of Frank Shepard, you quickly realise the magnitude of her remarks in the opening scene, and Serena Cann delivers this all in spades. As we continue through the years prior, we discover what Mary endures emotionally and the subtle actions and reactions that Cann infuses into her character pays off. Embracing the emotion and ability in Cann’s performance within Not a Day Goes By is the icing on the cake.
Bec Pynor delivers consistently in her characterisation, singing ability, and movement as Gussie Carnegie. Pynor works hard to embrace Carnegie’s story, values and ethics, and uses that information to create a solid character we dislike, but equally love. Gussie’s Opening Number is a fun way to begin Act Two with the dancers and wonderful costumes – a great opening post-intermission.
We meet Beth at the end of Act One, and she’s not exactly in a good place. When we return from intermission, we meet her again, and learn about her origins and relevance, and we quickly get onboard with Beth and her choices – she married a very lousy man. As an audience, we take Beth’s side because of the work Danielle Greaves has placed into her character. The pain she conveys in that final scene of Act One is much more appropriate when you know why.
Ryan Ricci plays Joe Josephson, the money-man for Franklin and Charley’s Broadway productions. But Joe is also the husband of Gussie Carnegie. He makes it clear he’s just happy to be there with a stunning woman… who wouldn’t? It is evident that Ricci has a lot of fun building this character, complete with a few vocal moments and a cheeky choreographed piece. Ricci made Josephson a character you want in your corner.
The biggest disappointment in the script is not finding out what happens after the first scene, chronologically, and that’s largely due to the Grace Sexton’s performance of Meg in the opening scene. We quickly invest in Meg’s story before realising that Meg is the end of this chapter. Sexton brought a character that we want to care about and want more detail, and did this so brilliantly.
Teen Joshua Mason plays Franklin and Beth’s son: Frank Jr. Mason is an audience favourite with his boyish charm and acting chops at a young age. Keep an eye out what he accomplishes in the future. As an ensemble, everyone plays their varying and multiple roles with ease and sharpness. Their collective involvement in each Transition song is smooth and hauntingly pleasant.
G&S elected to place their orchestra atop the set in view of the audience and close in the pit to use as additional stage space. Thankfully there is rarely a dull moment on stage preventing your eyes to wander to the orchestra’s location. Moreover, as much as there is a large collective of people that appreciate Sondheim’s craftmanship, I feel his 4 ½ minute Overture is too long, to the point it begins to fill uncomfortable (or something has gone awry backstage!) The orchestra of 15 do a remarkable job in taking on the challenge that is Sondheim and deliver the music exceptionally.
Lucy Newman’s choreography is eloquent and stunning wherever appropriate throughout the production, from the small movements necessary not to overcomplicate a scene, through to the few dance numbers that required more flair, or alternatively, precise timing.
Opening Night had issues throughout the show where microphone cues were missed, or mics weren’t operational mid-scenes – hopefully that can be put down to opening night issues and be quickly remedied. The affected cast could still be heard clearly in these moments – kudos to them.
Opening number Merrily We Roll Along had the ensemble entering through the auditorium entrances and across the front of the stage but were in darkness until they took their positions on the stage. There was also a scene in Act Two also had a couple of characters in the dark on stage – a bit of a black spot problem – again, can be easily fixed.
The timeline of the story spans between 1976 and 1957, and the relevant fashions and eras were remarkably reflected, and Costume Manager, John McTier deserves an accolade. My personal favourite was the Black and White pieces in Act 2. Similarly, the set design by the Director and MD was wonderful, keeping a static set for the whole show, and only bringing in relevant set pieces and props that quickly told us of each new scene, along with flying in and out lighting fixtures – keep an eye out for them.
While some will attend because it’s a Sondheim work, I encourage you to attend because of the quality of theatre The G&S Society have once again provided.
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