"Merrily We Roll Along", has been reworked throughout the years by various companies all over the world. This musical speaks so much about regret, hopes, dreams, friendships, success and failure, and consequences. Fans will argue about what is the better version of the show and which opening and closing works better. I prefer the original opening and closing as it bookends the show neatly with the final class snapshot and puts everything into perspective.
This version by Watch This opens with the success of Frank's latest movie. Starting after the context setting Graduation Scene rushes the context and does not allow the audience time to be introduced to each of the main characters. The show is about understanding how people change over time from their hopeful, idealistic youth.
The direction by
Sara Grenfell worked on many fronts and was limited by the restrictive and intrusive stage design.
Sara Grenfell brought out some strengths in individual characterisations and performances in
"Merrily We Roll Along". The staging was quite good given the dominance of the staircase. The placement of the two pianos balanced the sound, and provided a sense of a creative studio.
The accents were confusing as the actors switched between Australian and standard American dialects. Then, the performers would sing with American accents. I could understand the use of the regional American accents for cameo roles but this highlighted the error in judgement in using varied and indeterminate accents elsewhere.
Musical direction by
Cameron Thomas is at its best with the pianist. It would have been great to hear all of the brass and string orchestrations, and surprisingly I enjoyed the piano version. Overall individual singing was not up to scratch with this score as only one song was completely sung in tune. The best part of the singing was the ensemble harmonies.
The best part of this version of
"Merrily We Roll Along" was
Cameron Thomas as the pianist. He was not distracting, as was the case with the musician in the
"Heart Is A Wasteland" at
Malthouse Theatre on Wednesday July 12th 2017.
Set Design by
Emily Collett was inventive but too cramped as the staircase took up about a third of the stage. The staircase paid homage to
"Follies" and created the symbol of status and power. The staircase emphasised the school graduation opening version that did not occur. The year 1965 was highlighted on a card in Act Two and made me question why more labeling of years did not occur throughout the production.
The red curtains upstage were effectively used for entrances, and, for the revue and wedding scene.
The set was too large for the space as the actors tried to squeeze behind the black curtain upstage left. This distracted from the flow of the show and highlighted the cramming of too much into such a small space. As the actors squeezed behind the staircase to make entrances via a black curtain, they revealed many entrances: which was both distracting and drew focus away from the central action.
The design impacted upon the sight-lines on the actions. The suitcases were used in a gag that had the audience in the back row rising from their seats to see Charley in the suitcase. This small section was the only part that was staged too far downstage. (This is a compliment as so many shows at
Chapel Off Chapel are staged too far downstage.)
The costumes mainly worked, but repeating the silver/black suit for Mary was a time period issue, as was Frank's cream jacket. A torn pair of black pants was not a good look, nor was the cuffs on the men's jackets. I appreciate accidents can happen and a tear can occur on stage during a production - but the dominating staircase added to the prospect of accidents.
Appropriate historical make-up changes from 1979 to earlier periods were noticeable on
Ana Mitsikas who played Dory Bunker and Mrs Spencer. These small details added to the individual actor's characters.
Choreography by
David Wynen worked best in the montage sequences for the ensemble in the various party scenes.
David Wynen also worked some magic with the very long "Bobby and Jackie and Jack" number as he referenced
some important poses and group formations from the early 1960s' era.
David Wynen could benefit in researching and creating more historical poses from many of the famous Kennedy photographs available in "Life", Time" and other magazines.
The end of Act One sequence had many in the audience cringing or looking at each other - as this section was so jarring and out of place with the choreography that had preceded. This section was corny as it appeared if it was the big dance number and did not really tell the story of transition to the cruise, as the earlier choreography had purpose. Choreographically, this finale to Act One was well staged but not in context of the show. The dance moves of 1979 needed to be more clearly differentiated from those of the late 1950's and early 1960's. I look forward to seeing more of
David Wynen's work in the future, as he is a choreographer to watch.
The performances varied especially with the accents as they changed from Australian to Canadian to American. The show would have worked better had they all used American accents as they sang using American pronunciation. Overall the diction in both dialogue and songs was poor, with a three exceptions. Only three performers could project their voices to us seated in the back row.
Sadly, only one song was entirely sung in tune. The singing overall was ordinary from individuals but the ensemble harmonies were pleasant. This may sound harsh but the cast did capture the essence of the heart of the show.
Some of my favourite moments included Frank played by
Lyall Brooks playing the piano and the transitions between
Cameron Thomas playing the piano.
The television interview scene is a sure hit and was expertly handled by Vidya Makan as KT,
Nelson Gardner as Charley and
Lyall Brooks as Frank.
Nelson Gardner's characterisation of Charley was superb from his first hunched over entrance to this show-stopping scene with the
"Network" meltdown song
"Franklin Shephard, Inc". Every move, gesture and lyric had the requisite emotional connection. Sadly his later song was out of tune.
Nelson Gardner is a talent to watch in the future.
Other favourite moments included the
sputnik spotting roof-top scene when Mary meets Charley and Frank. This was one of the few scenes where my heart leapt at the emotional connection and honesty between the players. More of this emotional connection was needed in earlier (later chronological scenes) especially with
"Old Friends".
Beth played by
Sophie Weiss sang the iconic song of yearning
"Not A Day Goes By". This was the only song sung completely in tune, and had a sincere emotional connection. Sadly, we could barely could hear the song in the back row.
Nicole Melloy as Mary provided some good laughs with her journey backwards in time to allow us to see why she took up drinking. Her performance was restrained and showed her growing younger as the innocent
Barnard College student.
Nicole Melloy lightened her voice and body to show a youthfulness at her first meeting Frank and Charley.
