Sondheim should not have choreography. That was first note I made at the Derby Playhouse production of Merrily We Roll Along, directed by Karen Louise Hebden. At least, it shouldn't have the type of arms a-flapping, legs a-waving Thoroughly Modern Millie style choreography as witnessed last night. It – initially - greatly dampened my enthusiasm towards the show, but thankfully, as the musical went on the choreography lessened, the performances matured and the emotional impact strengthened considerably. And - though for a musical that goes progressively backwards in time, that might seem the reverse of what ought to be on offer - it proved that sometimes drama takes time to settle in, and that second acts are far stronger than their first, which Merrily seems to be a rare, yet definitive example of.
Charley and Frank are Broadway writers - 'the next Rogers and Hammerstein' - but after an infamous public spat on live television, their partnership is in tatters. At a drunken party, their former best friend Mary begins to recall the golden friendship that now appears to lie dormant. Following the lives of these three close friends over a period of 19 years, the musical then works backwards from 1976 to the end of their story in 1957 – where their first rooftop meeting in New York is watching Sputnik travel overhead. Amid a backdrop of American political events – presidential shootings and the like - Charley and Frank see their relationship tested by both a succession of women and the moral strain of whether to sell out to cinema instead of the lesser paid lights of Broadway. It has some interesting observations to make about the musical theatre industry; not least the wonderfully self-knowing accusation from a Broadway producer that 'there's only one thing wrong: there's not a tune you can hum', something Sondheim surely knows only too well (though it has to be said, Merrily sends you out humming all the way home).
What this production fatally lacks in the first half - and there was a distinct difference between the first and far superior second - is honesty, truth, depth, characterisation; all those, er, small.. necessary things a Sondheim musical craves. This may be the fault of the material itself at times (particularly given the complexity of the time structure, which means scenarios we fully understand of by the end are alien concepts in the beginning) but Hebden's direction weakens the initial development of crucial - though in theory long established - relationships; characters don't face each other, but speak straight out to the audience. There's barely a single moment where two characters' eyes meet, when they desperately need to. The line delivery is often cartoonish, which may be a material fault as well, but could have been overcome by an injection of honesty and truth; they're not constructed as believable people. And yet, as I cannot stress enough, the second act - with its wealth of wonderful songs - matures and develops before eventually entirely redeeming its weaker first half. Hebden rehearsed the show chronologically, which perhaps gives reason for the finer second act.
The trio of leading actors – Glyn Kerslake (Frank), Glenn Carter (Charley) and Eliza Lumley (Mary) – convince at times of both their love and hatred for each another, though they are significantly better at conveying the love; perhaps this comes from Kerslake and Carter's twenty year friendship, as reported in the programme. The final fifteen minutes – in which these three actors appear in most together as a trio – are by far the strongest; if only this friendship could have been seen much earlier on in the audience's durational understanding, the impact of their falling out may have had a greater impact. The final song ('Our Time'), touchingly sung by Frank and Charley seated on the edge of the stage, was absolutely beautiful, as was their rendition of 'A Good Thing Going'. Kerslake also demonstrates some excellent onstage piano playing; a rarity these days (memories spring to mind of Hugh Jackman miming away on his piano, with Christian Campbell in Tick Tick Boom another guilty offender).
Musicals often throw up surprisingly strong supporting performances, with Merrily showcasing several wonderful performers. Julie-Alanah Brighten as Gussie, though given a very 2D character in the first half, commands the opening ten minutes of the second act in a strong vocal and acting performance. Michael Beckley is the most naturalistic of all the actors in his somewhat subtler performance of film producer Joe Josephson, and Cheryl McAvoy as Beth Spencer is the standout among the supports. With a similar frame and face of Kylie Minogue, McAvoy's a sparkly, bright-eyed performer, and yet another reason for why Act 2 is the clear winner; she features significantly in this act. Her comic skit 'Bobbie and Jackie and Jack' is outstanding; and wonderfully choreographed by Fergus Logan, proving that fun, slapdash choreography does have its moments sometimes. Praise must also go to Joanne Redman as news-reporter Kt; great comic timing, and the most warmly received performer where laughs are concerned.
