Sondheim’s “Merrily We Roll Along” Finds Redemption Decades After Initial Flop
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A filmed performance of the critically acclaimed revival of Stephen Sondheim’s “Merrily We Roll Along” is set for release in cinemas next month, offering a second chance for a musical initially rejected by audiences and critics. The production, directed by Maria Friedman, has garnered significant attention after a successful run on Broadway in 2023-24, winning four Tony Awards and reversing the fortunes of a show that closed after just two weeks in 1981.
A Story Told Backwards
Based on a 1934 play by George S. Kaufman and Moss Hart, “Merrily We Roll Along” uniquely unfolds its narrative in reverse chronological order. The story centers on Franklin Shepard, a composer and movie producer, as he reflects on his life and the erosion of his creative and personal relationships. Specifically, the musical explores the fracturing of his partnership with playwright Charley and his friendship with novelist Mary.
The show’s journey has been anything but linear. Following its disappointing debut in 1981, Sondheim and book writer George Furth implemented structural revisions. The original opening, featuring a song by the young Franklin, was replaced with a scene depicting a lavish party celebrating his later success. Casting strategies also evolved; the 1981 production featured actors portraying characters aging backwards from middle age, while the Friedman production utilizes mature actors to embody the characters across their lifespan with nuanced adjustments.
A Critic’s Vindication and Emotional Resonance
One observer admitted to being deeply moved by the Friedman film, attributing the emotional impact to both the story’s inherent weight and the joy of experiencing Sondheim’s music. The narrative’s strength lies in its universal resonance, offering different interpretations for each viewer. Like Pinter’s “Betrayal,” which also employs reverse chronology, “Merrily We Roll Along” illustrates the inevitable compromises, adjustments, and sense of loss inherent in life.
While few experience a trajectory mirroring Franklin’s – from aspiring songwriter to successful but compromised artist – the musical taps into the common experience of youthful idealism being tempered by time. Some interpretations, as noted by Scott F. Stoddart in an essay on Queer Sondheim, even suggest a homoerotic subtext to the friendship between Franklin and Charley, particularly highlighted in Charley’s emotional outburst during the number “Franklin Shepard Inc.”
Sondheim’s Craft and Subtle Commentary
Sondheim himself delved into the techniques behind the musical in his book, “Finishing the Hat.” He explained the unconventional structure, where reprises often precede the original songs. A prime example is “Not a Day Goes By,” initially sung by Franklin’s estranged wife, Beth, with controlled anger, and later re-contextualized as a celebration of their marriage and Mary’s unspoken affection for him. The lyrics remain largely the same, but their meaning shifts dramatically with the evolving narrative.
The musical also contains a subtle layer of commentary on its critics. A scene features a Broadway producer advising the young Franklin and Charley to prioritize “hummable melodies,” adding dismissively, “I’ll let you know when Stravinsky has a hit.” This moment is particularly ironic given that “Merrily We Roll Along” is replete with memorable tunes, including “Old Friends,” “Good Thing Going,” and the title song, which have resonated with audiences for over four decades. The author expressed astonishment at the persistent claim that Sondheim excels at lyrics but struggles with melodies, arguing that his songs, while rooted in dramatic context, possess a lasting quality.
A Nuanced Portrayal and Lasting Impact
A potential criticism of “Merrily” has always been the unsympathetic nature of its protagonist, Franklin. However, the current production, led by Jonathan Groff, presents him not as a monstrous egomaniac, but as a flawed individual consistently choosing the path of least resistance. Lindsay Mendez delivers a poignant performance as Mary, capturing her unfulfilled desires, while Daniel Radcliffe shines as Charley, imbuing him with both angst and a passionate belief in the transformative power of art.
Ultimately, whether “Merrily We Roll Along” achieves that transformation is left to the audience to decide. But Friedman’s production, building on her earlier work at the Menier Chocolate Factory in 2012, stands as a testament to the enduring power of Sondheim’s vision and a compelling explanation for why a once-notorious flop has become a celebrated hit.
