REVIEW: Merrily We Roll Along (Keegan Theatre)

Good news! If you’re a-hankering for a taste of Merrily We Roll Along, the backwards-stepping Sondheim misfit about a doomed friendship, then you don’t have to look any further than your own backyard. Dupont Circle’s stylish and cozy Keegan Theatre is contributing to the Moment™ that this show is having in exciting fashion by staging it in its close quarters on Church Street with a gaggle of local talent. Something might be stirring, shaking ground, even, but is it any good?

Book / Music

It’s no secret that I’m a huge Company fan, and of the two George Furth-Sondheim musical collaborations Merrily makes it 2-for-2. Chronicling the demise of a trio of friends in reverse chronology, it has not had the sparkling reputation Company has had since it premiered. Some deride it as confusing, some pretentious, or —as it recently entered conversations about where it ranks as a Sondheim piece — that it’s just too defeatist. I mean, what use is there in an ending where this friendship is at its birth when all you’ve seen the last two hours is that it is just doomed to fail? It’s understandable, but I think a lot of this can ride on the tone of an individual production. Notably, I consider the current Broadway revival to have a more optimistic tinge compared to the Keegan’s, but this doesn’t have to be a bad thing. Like Company, it’s not a particularly easy thing to make a good musical about, but the fact that there is (a damn great) one speaks volumes to its versatility as a piece. The unique narrative and score are full of meta easter eggs, and opening interpretation of character motivations and backstories that aren’t spelled out in front of you (especially as the more they’re spelled out, the less sense they can make). However, faults still exist with the massive under-development of what could be major plot points, such as more than one musical motif for Beth or exploration of Mary’s infatuation with Frank. Additionally, Sondy does a tremendous job of beating the unhummable allegations (see: “Old Friends”), and I’m glad this musical is getting some attention so that more people are exposed to a prime piece of his that (until recently) was lesser-known. Who else could make such an earworm out of an overture? 9/10

Acting

Merrily is superbly sung here — the cast is rounded out with a gorgeous ensemble with elegant harmonies that intensify in the intimate space. Sumié Yotsukura’s Gussie and Sarah Chapin’s Mary were total standouts vocally, richly slicing through lyrics like butter, though Chapin contended more strongly with the dramatic elements. Harrison Smith is senstational in the role of Charley, bringing an unexpected animation to his turn that was at the same time much more jaded than Radcliffe’s current Broadway performance (don’t look now, but I think I may prefer it like this). For someone as focal as Frank, I found Ryan Burke’s performance cold and rigid, like he was emotionally stuck in a box. Even in the opening numbers when he’s at the top of his game socially, he maintains the awkwardness of the later numbers from earlier in life; a valid choice to make, but one I don’t think worked out. In essence, it’s numbers like “It’s A Hit!” where the trio plus Beth (Brigid Wallace Harper) and the producer Joe (Duane Richards II) remind you how exciting of a cast this is, and it’s a show I wish overall had more ensemble numbers that were filled with this level of excitement. 8/10

Production

Keegan produced this show despite the competing New York production, smartly posing it as a counter in many ways. The tone is more distant, but the tech is bubblier (and as much as I LOVED the Broadway version, it did feel more sanitized). Thus, directors Christina A. Coakley and Jennifer J. Hopkins create something that often feels more alive. Yet, with Being Alive comes a flawed existence; for every one of Dominic Desalvo’s lush, pastel rays of light absorbed by Matthew J. Keenan’s paper-mache’d set, there’s an off-key instrument in the live band, a line flub, a stage management miscue, or (the most common crime) horribly-mixed sound levels. Luckily, this mostly just reinforces its authenticity. The staging in question is visually engaging as a tri-level series of platforms adorned with historic news clippings, and then further subdivided into center and wing platforms. For such an intimate space, this creates a lot of potential for action without distracting or overwhelming the viewer. (I found the papery-ness high school-y at first, but it grew on me.) Surprising to me were the quality of the colorful costumes by Elizabeth Morton, who plays with primary colors to codify characters (but not in poor taste like the original production) and the choreography by Hopkins. They each shine on their own several times in this production, but they both synergize right in your face during “The Blob” numbers in Act II, where the acrylic one-percenters jerk around in these saturated outfits. And yes, I can’t believe I’m defying my brand again here, but the projections….weren’t awful. In fact, Jeremy Bennett’s were tasteful and creative at times, and it felt less like a crutch and more of an actual artistic merit that Merrily Rolled the story Along with historic imagery, skylines, and mood signage. 7/10

Viz

While program art is a bit minimal, just an orange-overlaid picture of Manhattan, the pre-show staging is well-equipped with a sort of time-travel vibe. The collaged set is projected with cool lighting, highlighting a piano, while years significant to the plot are projected on panels around the space. Just another great example of projections and lighting capturing the vibe super well without being over-the-top. 7/10

Verdict

Keegan puts on a fun, well-crafted production of Merrily, and though imperfect technically, showcases enough talent to keep it together. 31/40