Merrily We Roll Along

This precision-paced production is a fine example of what community theatre can achieve. The direction is as creative and tight as the score itself. There are many great songs in this musical, all of which are quintessential to the characters and the tale they tell – and this production shows understanding of and respect for the special rhythms and juxtapositions that make Sondheim’s works that little bit different.

Director Craig Stewart and musical director Bernie Lagana have cast an ensemble of performers and musicians who have worked with obvious enthusiasm and commitment to bring this work to the stage. Production Manager (and RLE president) Carol Lutz is justly proud of the company’s achievements. “Craig and Bernie’s vision has always been to let the music speak for itself,” she says. “They have been ably supported by Sarah Friedrich, whose simple, yet striking choreography gives the production strength and polish.”

Stewart’s set is a black grand piano on a large revolve with lighting (designer Matt Lutz’s) centralising the revolve. The orchestra is placed stage right on a raked rostra. The minimalism of the set, and the fact that the costumes are monochromatic (black, white and shades of grey with the relief of some symbolic white lilies and a bunch of red roses), concentrates the action centre stage. The revolve serves the double purpose of setting each scene – then taking the action back through the sixteen years and the seven ‘transitions’ of the story. This means the blocking and choreography have had to be ‘spot on’ to realise Stewart’s ensemble vision – and, though this must have put extra pressure on the cast of fifteen, they have all coped with it well.

Peter Meredith finds real empathy in the role of Franklin Shepard, composer turned film director. Not only does he sing (and play) with true feeling for the highs and lows of Frank’s career, there is depth in his acting – a gesture, a quick smile, a wink, a look of despair – that adds to the dimension of the character and the turmoil of his life.

Tim Green is equally believable and lovably engaging as his long time friend and lyricist, Charley Kringas. Green is a consummate performer who finds all the emotion of this role, especially Charley’s concern for Frank and how things used to be.

This is also the concern of their friend, Mary Flynn, played by Denise Devlin. There is longing and lost love in Devlin’s depiction of Mary as she reaches out constantly and quietly suffers rejection. 

Well-known performer Jessica Zamprogno plays Gussie Carnegie the ‘star’ who tempts Frank away from his wife and son. Zamprogno finds the many facets of the character – cynicism, narcissism, jealousy, sophistication – in a carefully controlled performance that accentuates her acting and vocal range.

Christopher Hamilton brings the wealth of wide experience to the role of producer Joe Josephson. He is at ease on the stage and brings a quiet dignity to the ensemble.

Melody Beck, as Beth Shepard, has the wonderful opportunity to sing Not a Day Goes By – and she does so beautifully! As well, she finds the contrasts of joy and anguish in the role, making Beth very real and engaging.

James Beck, Elizabeth Duong, Santino Emmi, Kris Fenessy, Sarah Friedrich, Rebecca MacCallion, Alana McDonald, Tom Pegler and Katherine Sharpham support them as friends, reporters, photographers and fans. Their voices, characterisation, movement and precision are testament to intricate direction and tight rehearsal.

This is a very well directed and sophisticated production that makes Sondheim and Furth’s story roll very merrily – and movingly – along.

Carol Wimmer