I am a devotee of the show, and would see it anywhere, any which way. This is because, back in 1980-81, while working in the bookstore down at NYU, I became acquainted with a young theater student named Mary Rose. As the year went on, we noticed she would leave intermittently, return, and that was that. Many thought it was for classes; understandable enough, as so many of us then were on Work/Study.
One day, she came in, announcing to us that she had been cast. Her departures had been to audition for a show being put together by Hal Prince and Stephen Sondheim, called "Merrily We Roll Along." I had never heard of it. But that was about to change.
I was so excited just knowing someone who had actually been cast in a Broadway show, let alone a piece by Prince and Sondheim.
I saw the original production twice. The first was on Halloween--Saturday, October 31, 1981; the second, just two weeks later. I loved the score, the voices, and thought Ann Morrison and Lonny Price were the stars of tomorrow.
The important thing to keep in mind about 'Merrily' is, while it flopped, with no one becoming the stars they might have imagined, there was still that RCA Cast Album, to remind everyone of what a gorgeous musical piece it is. There have been many recordings of it, since, but, for me, maybe because, in the ensuing years, I have crossed paths with Ann, Lonny, and others in the cast, that Original Cast Album is the gold standard for how the show should sound.
Which was exactly what was lacking in the Fiasco production David and I saw on March 2. In some way, this company mirrors the show--a group of folk in the Brown University Acting Program, who formed their own group. Theatergoers were charmed by their downscale "Into The Woods," but I am sorry; you just don't truncate a Sondheim score.
Even more, you don't cast it with actors who are limited vocally.
Let me say that Jessie Austrian, as Mary Flynn, fared the best, delivering a heartrending "Like It Was," and "Not A Day Goes By," but was unable to summon the energy and belting vitality to deliver "Now, You Know." Likewise, Brittany Bradford, as Beth was fine on "Bobby, And Jackie, And Jack," and the "Not A Day Goes By" at the start of her marriage to Frank, but when sung at its end, she got the heightened emotionality, but at the expense of the melody. So many performers, who couldn't sing the notes were allowed to talk through them, such as Manu Narayan, as Charlie Kringas, who not only couldn't sustain "Franklin Shepard, Inc." but could not hold the necessary notes on "Good Thing Going."
And how many times do I have to say this? One cannot just leap into 'Merrily;' there has to be an overture, and an opening and closing framing device. Otherwise most audiences will not understand the context of the onstage world they are about to enter.
Now, I knew there were going to be problems, when I walked into the theater. The first thing I noticed was a sign, indicating the lead actor playing Frank, Ben Steinfeld, was out that afternoon. The nerve of him; how dare he?????????? Guess he did not have the courage to face The Raving Queen. And so early in the run? Nicholas Ryan subbed for him, but was so unready for the role that the show was more about Mary and Charley; first timers to this show may very well have wondered, "Who is this guy, Frank, and why is such a fuss being made about him?" Let me say while I disliked Ryan's performance, I don't fault him; he was just unfortunately placed into an impossible situation. And Frank, even done at his best, is not the most scintillating character, anyway.
So, some may ask, was there anything I liked about this 'Merrily'? Yes.
I loved the party scene, where Mary tells off everyone. I have some people I would like to do that to myself, and when she did it, I applauded loudly.
I still identify with Charley's idealism and integrity, which, like him, has also gotten me into trouble, sometimes.
You heard me on Jessie Austrian.
I liked the way the song "Growing Up," which I never appreciated, till now, was used to show how both Frank and Gussie are drawn to each other, only to emerge as despicable people.
I felt genuine heartbreak for Paul L. Coffey, as Joe, who is destroyed by his love for Gussie. Maybe, because, as I age, I understand things a little better.
And speaking of heartbreak, the show's last fifteen minutes should be emotionally devastating, and are, to a point. The trio--or at least Austrian and Narayan--made me look wistfully and tearfully back on the time of my life corresponding to "Opening Doors." When the intro to "Our Time" came, so did the tears, but the impact of the song was undermined by having only the trio sing it, minus an ensemble that could have given it the rich, choral sound it needs. The song still got to me, with its lyrics, in relation to my life, but the musical impact was lost.
Let me say something. I know, and observe, and so, when I saw the show's Musical Director, Alexander Gemignani, come into the auditorium, sit in the back of the house, with a huge note pad, I knew there was something wrong. I wish I had found out what.
His father, Paul is the best in the business. Did he think his new arrangements would improve on his dad's??????????? Come on!!!!!!!!!!!!!!!!!!!!!!!
'Merrily' might have worked this way, if they just added, like "A Chorus Line" does, some backstage singers, for the bigger numbers. The show did not sound up to the standards of the material, thanks to poor decision making. I dread to think what is next--"Follies," with just a piano, cut to an hour, and four people???????????????
Enough! I advise anyone contemplating going to this, not to. I advise Fiasco to leave town, and ply your wares elsewhere. You have desecrated a masterwork, here. If you screw up, at least have the integrity to do it on your own, and not at the expense of better artists. Create a piece of your own, instead of thinking you can improve on others!!!!!!!!! Because you can't!!!!!!!!!!!!!!!!!!!!!!!!!!!
No, I did not like this 'Merrily!!!!!!!!!!!!!'
"Now, You Know!," darlings!!!!!!!!!!!!!!!!!!!!!!
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