An inventive and delightful production, the storyline is in reverse chronological order, but in chronological order nonetheless, so one is never confused by time-hopping between decades and generations that certain other shows love to indulge in. The lasting memory of this particular rendering of Merrily We Roll Along is not the choice of costumes, although they do well to portray the relative affluence of the principal characters in later life as opposed to the relative (that is, first world) poverty of the same people as they were as students living in budget accommodation. It is not a reliance on the libretto, in which the ensemble literally sings which year it ‘is’ at the start of each scene transition, such that the characters do not need to ‘show’ their age through wigs and makeup, but instead simply act increasingly less world-weary as the story progresses (or, technically, regresses).
The lasting memory is the very liberal use of metallic confetti rectangles (yes, I did look up what they were actually called on the website of a special effects and pyrotechnic supplies company) early on in the first half. A seemingly inexhaustible supply kept coming out of a large receptacle above the stage, the whirring of a machine continuing even after a musical number had finished and the cast were engaged in spoken dialogue. Indeed, the clear-up operation during the interval provided some entertainment in itself, with stagehands busy with vacuum cleaners, which struggled to cope with the sheer volume of confetti. I can’t help thinking the job would have been accomplished quicker with a dustpan, brush, and bucket (and, in case a risk assessment requires it, kneepads), but hey ho. Come the second act, there were yet more metallic confetti rectangles…
The central trio of friends, Franklin Shepard (Calum McElroy), Charley Kringas (Ilya Akinfiev) and Mary Flynn (Clodagh Harrington) harmonise beautifully, however, strained relations between them become. The choice not to bother with talcum powder and whatever else makes a younger person look older on stage seems inspired with the benefit of hindsight, as though the student production was knowingly acknowledging that the age profile of drama school students is what it is, and the cast members playing older characters are going to look of a similar age than generation below said characters – because they themselves are more or less the same age.
It didn’t matter, with Frank, as Franklin invariably became known, repeatedly mentioning, to the point of being contrived, how old he was. The cast are well-drilled, and the decent acoustics of the venue help tremendously, with every lyric delivered with crystal clarity. There’s sophistication and complexity in the songs, and the company rises to the challenge seemingly effortlessly. The story essentially warns, without getting too preachy about it, of the dangers of pursuing success in the entertainment industry, however success should be defined, and questions if the sacrifices made are worth it. Thinking about it, it’s an inspired choice of musical for a drama school to put on, asking its students, as well as the audience, to consider what’s important in life.
The only significant fault is with the musical’s structure, which doesn’t allow Charley’s or Mary’s backstories to be as rounded and developed as Franklin’s. That, of course, is not something the production team or the actors can do much about. A confident and assured production, it was easy to become emotionally engaged and invested in proceedings.
Review by Chris Omaweng
Told in reverse, this emotionally rich show starts at the end of a friendship and rewinds through the pivotal moments that shaped the lives of three ambitious artists.
Follow Franklin Shepard, a once-successful composer turned Hollywood producer, as the story journeys backward through decades of compromise, success, heartbreak, and hope—revealing how he and his two closest friends, Charley and Mary, let their dreams slip away.
Franklin Shepard – Calum McElroy
Charley Kringas – Ilya Akinfiev
Mary Flynn – Clodagh Harrington
Gussie Carnegie – Anneketrien
Beth Shepard – Scarlett Cole
Joe Josephson – Joe Sheridan
Mrs Spencer / Ru – Jemma Loader
Judge / Dory / Photographer / Evelyn – Jemma Walton
Tyler / 1st Girl Singer – Beth King
K.T. – Emma Montgomery
Meg Kincaid – Jasmine Morris
Jerome / Minister / Pianist – Connor McKnight-Hill
Music and Lyrics by Stephen Sondheim
Book by George Furth
Based on the original play by George S. Kaufman and Moss Hart
Director – Alex Sutton
Choreographer – Aimee Leigh
Musical Director – Dean Austin
Set and Costume Designer – Alex Sutton
Lighting Designer – Tyler Forward
Sound Designer – Findlay Claydon
Costume Supervisor – Josh Bamling
MERRILY WE ROLL ALONG
Playground Theatre
4 to 7 June 2025
