When Director Tim Hill set out to stage "Merrily We Roll Along" at Ad Astra, an intimate theatre, he faced the formidable task of translating the grandeur of a Broadway musical into a more confined space. Hill’s insightful approach sheds light on the unique challenges and unexpected advantages of such a transformation, emphasizing a story-first mentality and a play-like treatment.
“Merrily We Roll Along” possesses qualities that align well with a smaller, more intimate setting. Hill explains, "The key to staging a musical in that space was to approach it like a play. 'Merrily' has many attributes of a play: generally enclosed, confined settings, a character-focused narrative, intricate character relationships, and a focus on story first over spectacle. I thought all these attributes really lent themselves to such an intimate setting."
This perspective redefines the traditional boundaries between a musical and a play, highlighting that the essence of a story can be effectively conveyed regardless of the scale of production. Hill’s approach involves focusing on the core narrative and character development, which are often overshadowed by the grandeur of Broadway productions.
One significant challenge Hill faced was casting. "This was a challenge, and the key was to find a dexterous cast who could jump from character to character effectively and believably. Despite the challenges of the score, we really looked to cast actors first for this," he says. By prioritizing versatile actors over those specifically suited for singing roles, Hill ensured that the integrity of the characters and their relationships remained intact. The audience’s willingness to accept actors in multiple roles underscores the power of storytelling and performance over sheer numbers.
The logistical constraints of a smaller theatre necessitated creative solutions for scenes that typically involve large ensembles. Hill notes, "The other big challenges were some of the crowd/party scenes. We tried to use choreography and regular entrances and exits to make the cast feel bigger than they were." This clever use of movement and staging created the illusion of a larger cast, maintaining the dynamic energy of these scenes without overwhelming the limited space.
Working with a small cast also brought unexpected benefits. Hill reflects, "I loved working with a small cast. Often, as a director on a big show, the time available to work with the ensemble can be so limited. With the small cast, it felt like we really had the time to tap into and explore each character in detail. It also allowed a great camaraderie to develop among the group." This close-knit environment fostered deeper character explorations and stronger connections among the cast, enriching the overall performance.
Musically, Hill made deliberate choices to suit the intimate setting. He shares, "Musically, the biggest change was going to have to be using a live band (which I insisted upon). The original score is big and quite brassy, which, to be honest, I think would have blown out a room the size we were working in. Working with a smaller band allowed a more intimate feel to the production and played into my aim to make it a more intricate, character-driven show." This adjustment not only accommodated the physical space but also enhanced the thematic focus on characters and their stories.
Hill’s vision extends beyond "Merrily We Roll Along." He believes in the creative potential of re-imagining big shows in smaller venues. "Look, I think with creativity, it is possible with just about any show. (I’d love to do a play/character-driven style version of 'Les Mis'.) I do think certain shows lend themselves to it more. It is actually my opinion that the original versions of a lot of Sondheim’s shows were too big. His work is so intricate and character-driven that I feel you almost need a more intimate space to really appreciate it."
This philosophy advocates for a dynamic and evolving approach to theatre production. Hill concludes, "I think we should always be trying to create and evolve how we present theatre. Finding new ways to explore a story and making it smaller is definitely a way to do this. I think a mistake that is often made is to stay too close to an original famous production for fear that is what people will expect. I think audiences love to see something new, and if there is a small show at the heart of a big show, why not put it into an intimate space that allows the audience right inside it?"
Hill’s innovative direction of "Merrily We Roll Along" at Ad Astra serves as a compelling example of how intimate settings can enhance the storytelling and character depth of even the largest Broadway musicals. His experience suggests that with creativity and a focus on core narrative elements, any show can find a new life on the small stage.
The success of Hill's production has prompted Ad Astra to re-stage the production in a bigger venue (with the same intimate feeling), to keep up to date be sure to get on their wait list here!
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