Skip to main content

Review: Merrily We Roll Along - Ad Astra

 

Written by Jake Goodall

Merrily We Roll Along is a Steven Sondheim classic that is currently playing on the Broadway stage in New York. This revival features a stunning 21-strong cast and full musical orchestra, so when Ad Astra decided to bring this massive production to the intimate setting of their theatre we were sceptical. However, Ad Astra proved that you don't need a massive cast or band to produce these musicals in Australia, just an extremely talented production team and cast!

Merrily We Roll Along follows the successful career of Broadway composer turned Hollywood producer Franklin Shepard backward in time. Throughout the show, during which time regresses from 1976 to 1957, we learn how Frank accomplished this - with the help of his best friends Charley (who writes the books and lyrics) and Mary (who is a writer in her own right and is always around for support and guidance). The trio of friends are inspired to become big players in American musical theatre and book writing and to “change the world” after witnessing the Russian Sputnik, the first artificial satellite, orbiting the earth on a cold October night. However, over time, Franklin learns what the cost of fame and fortune is, losing and alienating his beloved friends and family along the way and giving up his original dreams for ones with more financial and fewer emotional benefits. Those who began the journey with him do not end up at the end of it with him, and though Franklin has fame, fortune, and success, he ultimately realizes that he has left himself with nothing of any value.

The main point of difference of this production is taking a show with 21 actors and condensing it down to a mere 8. This reviewer was extremely skeptical at this as it is a very difficult task ensuring all parts are covered in a musical whilst maintaining its integrity, however, director Tim Hill showcased this with ease. At no point did the production feel lackluster or that it was missing pieces, it felt full and completed. Hill's direction was simple but extremely impressive, the blocking was natural and helped the audience understand the backward linear progression of the story. The set was simple, being able to showcase many different areas such as apartments, TV studios, and greenhouses among many others.  The use of projection helped to convey time as well as the removal of images to help showcase the time going back. 

Music Direction by Ben Murray was stunning, Sondheim is known for incredibly difficult scores with polyphonic melodies and crunchy harmonies. However, Murray whipped these vocals into shape and created something faultless. Additionally, Murray has condensed the massive band score down to 2 Keyboards and drums, that's it! It did not take anything away from the production but added a pulled back intimate vibe. Special mention to Lucas D. Lynch on Keys 2 and Peter Lavrencic on Drums carrying the musical elements of the production from start to finish.

Starring Stephen Hirst as Franklin Shepard, Natasha Veselinovic as Mary Flyn and Alex Watson as Charley Kringas, these three talented performers led the production with grace and style. Watson gave us a heartbreaking portrayal of Charley as the friendship disintegrated. Veselinovic was absolutely hilarious as Mary Flynn, providing us with a multifaceted character.  Finally, Hirst as the lead was a perfect choice, they rarely left the stage and helped the audience travel through this journey with grace and style 

Additional characters were played by Heidi Echelmaier (Beth Spencer & Others), Chris Kellett (Joe Josephson & Others), Chelsea Burton (Meg Kincaid & Others), Liam O'Byrne (Male Ensemble & Others), and Edward Hill/Milo White (Frank Jr). Each of these performers portrayed their characters impressively well and added their own flair to the production. The highlight of the production however was Jordan Twigg as Gussie Carnegie, Twigg is an incredible vocalist and was stunning as the Broadway star Gussie. Twigg has extreme talent and is sure to be a star.

Overall, Merrily We Roll Along at Ad Astra Theatre is an absolute MUST-SEE! This production defies the limits of what musicals can be and proves that you can produce massive Broadway-level shows in intimate settings!

Merrily We Roll Along runs until the 8th of June, but tickets are limited so don't miss out! BOOK HERE

Labels:

Comments

Post a Comment

Popular posts from this blog

Review: Picnic at Hanging Rock - Javeenbah Theatre Company

Written by Mark Rickell “The infamous picnic has become a faux Australian history that has haunted the Australian psyche for almost fifty years.” - Hunter Wall, Director This is the backdrop on which the story takes place, not that of the period in history, but in the present. In the effect of this story and what it means to Australians. Children study the text in schools, the name, and the mystery, is synonymous with Australian literature.  “Whether Picnic at Hanging Rock is fact or fiction, my readers must decide for themselves. As the fateful picnic took place in the year nineteen hundred, and all the characters who appear in this book are long since dead, it hardly seems important.” - Joan Lindsay, Author This adaptation of the text is extremely true to the original material, and serves as an excellent example of the power of theatre as a way of bringing stories to life. This adaptation, expertly staged at Javeenbah Theatre, is a triumph of storytelling. It is clear that director
Post a Comment
Read more

Article: Drama Dispatch Team's Achievements!

In the vibrant world of Australian theatre, few opportunities shine as brightly as La Boite’s Assembly Program. This prestigious initiative has long been a beacon for nurturing creative talent and fostering innovative storytelling. This year, we are thrilled to announce the inclusion of two exceptional individuals from our ranks: Grace Wilson, a celebrated playwright and regular Drama Dispatch Reviewer, and Jake Goodall, an acclaimed director and Drama Dispatch's Managing Director. Their acceptance into the Assembly Program promises to enrich the Australian theatre landscape with fresh perspectives and compelling narratives. Grace Wilson’s journey as a writer is nothing short of inspiring. With a background in playwriting, Wilson has carved out a niche for herself with her unique voice and evocative storytelling. Her works often explore the intricacies of human relationships, societal norms, and the complexities of identity. Wilson’s ability to weave intricate plots with deep emoti
Post a Comment
Read more

Review: Cost of Living - Queensland Theatre Company

Written By Grace Wilson It’s not often you get to witness a work that changes a theatrical landscape. Sometimes we see new and bright ideas come to life but with relatively little to no impact on the way we have seen theatre for centuries. We are almost used to seeing the spark fizzle, to see conversations die away - but Queensland Theatre’s production of Cost of Living has turned the spark into full flame. Martyna Majok’s Cost of Living asks us what is the bottom line of love, and whether love is truly something that transcends boundaries, whether they be physical or emotional? The work itself is sharp, witty, and evocative - it uses dialogue and conversation in real time to ask these hard-hitting questions about love and our ability to love, without preaching to the choir. The story itself follows a crossroad of characters: John, a PhD student with cerebral palsy, and his new young carer, Jess, and Eddie, an older trucker who is caring for his wife Ani, who was left wheelchair-bound
Post a Comment
Read more