Review: Merrily We Roll Along at the Harold Pinter Theatre

Merrily We Roll Along

Harold Pinter Theatre

Reviewed on Thursday 2nd May 2013

“You don't write what you know [indicates head], but what you know [indicates heart].” In this line that appears both at the beginning and the end of Merrily, I cannot work out whether Sondheim and Furth are being ironic or giving serious advice or maybe Sondheim is admitting an apology to people he forgot about as he became more successful, because for the most part this show appeals solely to the head and only momentarily touches the heartstrings. But then, what else would one expect from a Sondheim musical and in many ways this mid-canon piece is typical of the composer in its breadth of scope, its themes of the artist and the business of theatre and its elements of autobiography.

The focus of Merrily is an examination of friendship. The musical starts at the end of the tale, when ambition and difference in values have torn apart the once-close relationship of three 'old friends', and works its way backwards to the three's first encounter, when they were young and thought themselves infallible. It is a sad tale, based on the play by Moss Hart and George Kaufman of the same name, that is cleverly told: with each jump back in time, Sondheim and Furth reveal another nugget that helps explain the future events we have already witnessed. The backward chronology immediately distances us, in a Brechtian way, from the action, allowing us to reflect the conflicts on-stage into our own lives and consider the consequences of our own actions in life as well as life's unpredictability. And this is where the power of the piece lies: it is not just a story that is happening on-stage, it is a universal story of life, everyone's life and corresponds directly to off-stage reality.

This is an ensemble piece and the cast delivers superbly; they are as strong in their individual and varying characters as they are in their tight chorus singing and quirkily choreographed movement. Performances within the ensemble are playfully stylised, contrasting with the natural and straightforward performances of the three leads (Mark Umbers, Jenna Russel, Damian Humbley), all of whom are excellent as success-driven composer, victim of unrequited love, and lyricist with moral integrity, respectively. The casting of these three experienced actors works very well as the demands of the piece are such that the characters grow up (or rather decrease in age) by 20 years during the two acts and it was only when the characters reached their mid-20s that I had to begin to stretch my imagination a little. Director, Maria Friedman, utilises the Brechtian form well by keeping things light and fun and frequently allowing the actors to sing directly at/to the audience.

The orchestrations are bold and brassy, although at times a little overpowering. It is a shame when Franklin sits at an on-stage grand piano that we hear an obviously synthesised timbre. What is not to love, though, about the design: there is a surprisingly contemporary feel to Soutra Gilmour's groovy set and costumes.

Merrily We Roll Along meets all expectations, the show features faultless performances, well-thought-through action and tight, cohesive ensemble work. Merrily takes quite a cynical and embittered world view but I went away not crying for those on-stage, rather contemplative of my own life: thinking about my future, my past, my relationships and their importance to me now and imagining how they may change as my life and their lives merrily roll along.

Reviewed by Ted McMillan

ted@westendframe.com 

Merrily We Roll Along runs at the Harold Pinter Theatre until 27th July 2013
Click here to book tickets (save £20 at all performances until 1st June)

Show website: www.merrilywestend.com

Photo Credit: Tristram Kenton

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