In 1981, I excitedly reviewed a new Stephen Sondheim musical, Merrily We Roll Along. Sadly, it flopped, closing just two weeks after opening. Fast forward to 2023-2024, and the very same show ran for a year on Broadway, snagging four Tony Awards and earning rave reviews. A filmed version of this production, directed by Maria Friedman, hits cinemas soon, and it’s worth watching.
While the bones of the story remain—a musician named Franklin Shepard reflects on his life—the recent revival features significant changes. The 1981 version began with Franklin’s student song, but now it kicks off with a lavish party celebrating his movie success. The casting has also evolved: instead of young actors aging on stage, seasoned performers like Jonathan Groff and Daniel Radcliffe take on their roles with subtle adjustments.
I found myself teary-eyed during the filmed performance, not just because of the emotional depth but also due to the beautiful music. The narrative resonates differently with everyone. Similar to Harold Pinter’s Betrayal, which also tells its story in reverse, it explores how life brings compromises and losses. Many can relate to Franklin’s journey from hopeful youth to a more jaded adult.
Interestingly, there’s a deeper layer to Franklin and his friend Charley’s relationship, as dissected by Scott F. Stoddart in his essay on Queer Sondheim. He suggests a homoerotic undertone, particularly in Charley’s emotional breakdown in the number “Franklin Shepard Inc.”
Sondheim skillfully crafts the story, playing with musical conventions. For example, the song “Not a Day Goes By” takes on new meaning with each reprise, reflecting the characters’ evolving relationships and emotions.
The show even cleverly challenges critics. In one scene, a producer tells the young Franklin and Charley to create catchy melodies, jokingly mentioning Stravinsky. Ironically, Merrily We Roll Along is filled with memorable tunes like “Old Friends” and “Good Thing Going.”
Some say Franklin is hard to like. However, Groff portrays him as a misguided, yet innocent, character who makes easy choices. Mendez beautifully captures Mary’s unfulfilled desires, while Radcliffe brings depth to Charley’s passion for art.
Although some may question the show’s impact, Friedman’s production is a joy. It stands as a testament to how a show once deemed a flop can become a celebrated success. This arc—from failure to triumph—mirrors many life stories, reminding us that art has the power to evolve and resonate across the years.
For more insights on musicals and their cultural impact, you can explore resources like The American Theatre Wing or the Sondheim Society.
