UNSW Musical Theatre Society: Merrily We Roll Along - Review by Chelsea Holland

I’m always excited to see a production of Merrily We Roll Along by Stephen Sondheim and George Furth because it’s such a clever musical. With time moving backwards, you get to see the characters’ origin stories play out in unexpected ways. It’s a big puzzle, and an immense challenge for the actors who have to age backwards and present their arcs in reverse. But there’s also a huge payoff when done well, and all the lead actors in UNSW Musical Theatre Society’s production were up for this challenge.

The trio of friends at the heart of the story had a wonderful chemistry together. Matthew de Meyrick played both the smarmy and innocent sides of Franklin Shepard perfectly. It was a fully realised and nuanced performance with strong vocals just the icing on the cake.

Daniel Mark Wakeford was captivating as Charley Kringas, the friend often left in the shadows. His rendition of “Franklin Shepard, Inc” was deliciously unhinged with the palpable pain of being betrayed one too many times. But although it would have been easy to peak with this number, Wakeford continued to bring gorgeous vocals and some of the best reactions on stage through to the magnificent ending with “Our Time.”

These two powerful men were perfectly balanced by Theresa Landy as Mary Flynn. Landy knows how to deliver a one-liner with a punch and got some big laughs from her sarcastic barbs throughout the show. She also looked perfectly at home bossing the (quite tall) boys around and often dragging them down to her (more petite) height. Although I enjoyed the delivery of every song, “Opening Doors” was a highlight playing to the strengths and chemistry of the three lead actors.

The supporting roles were also brilliant. Lucy de Hosson served big vocals and diva energy as Gussie Carnegie. Discovering the origin of this character is always so satisfying and obvious in hindsight.

Helen Jordan-Lane has a beautiful soprano voice and also nailed the contrast between a heart-broken ex and charming financée. Her interactions with both her husband and parents were very funny and relatable.

Ben James was a revelation as Joe Josephson. He made the most of every line and scene he was in, and took a character that I often don’t think much of and made him a favourite!

Of course, all these performances were honed by director Sasha Cole, music director Jieshun Wang, and vocal & assistant director Benjamin Olivera. This trio should also be quite proud. I loved many of the directorial choices, like how Cole started and ended the show in the same way, really leaning into how the musical distorts time. The use of picture frames to make sure we always knew what date and location we were in during a scene was also very smart. And of course, the decision to cast this production with younger actors, like the original, worked really well.

Wang and Olivera did an incredible job with the difficult Sondheim music. The harmonies, diction, balance, and tone were all impeccable. As mentioned, I loved every song.

Bonnie FitzGerald provided choreography which especially kept the party scenes fun and lively. Her treatment for “The Blob” in Act 2 was my favourite with its 60s-style moves performed by the small ensemble.

As much as I loved the show, there were challenges on opening night, especially with the sound in Act 1. Thankfully we could hear all the lyrics and dialogue without problem, but there was quite a bit of crackling and popping coming from the mics and people who were heard backstage. They did fix most of this for Act 2, and I have no doubt this will continue to improve with more time in the space.

The props were another area which was distracting at times, as it didn’t match the high calibre of the performances. The audience laughed when a moving box supposedly full of glassware was lifted and the bottom wasn’t taped. Gussie talks about the expensive bottle of champagne she brought as a gift, but it was an empty, opened bottle with no label. And actors were drinking out of empty glasses and pouring from empty bottles, which is particularly noticeable when they are often only a meter away.

I point out these things not to be mean, but to show how even with not everything being perfect, that a well-written show, with a strong directorial vision, and honest performances can still cut through and make the audience feel something powerful. We should never let limited resources or fear that something won’t be perfect stop us from creating art. And THAT is what Frank and Charley are setting out to do in 1957 when they dream up the idea for their first collaboration together. The heartbreak is that they lose sight of this as they age with money, ego, and practical matters taking over. But I’m pleased to see that the UNSW Musical Theatre Society continues to be run by young artists with the drive to share important stories, and I think the future for this group looks very bright.

I would say rush to get your tickets for this beautiful and moving piece of theatre, but the run is already deservedly sold-out!