Merrily We Roll Along

by Mike McGranaghan

Merrily We Roll Along, with words and music by Stephen Sondheim and book by George Firth, was a massive hit when it was revived on Broadway in 2023. It won four Tony Awards, including one for Daniel Radcliffe, who took home the prize for Best Performance by an Actor in a Featured Role in a Musical. Not too shabby for a former cinematic boy wizard. Those not fortunate enough to see the show on stage can now experience a somewhat muted version of it via the new movie that was filmed live at the Hudson Theatre in 2024.

The story begins with songwriter Franklin Shepard (Jonathan Groff) enjoying a runaway success with his latest production, which is more of a “one for them” than a “one for me” project. Long-time pal Mary Flynn (Lindsay Mendez) uses alcohol to deal with her unrequited love for him, as well as the ego that has fundamentally changed his personality. When someone at a party mentions his former writing partner Charley Kringas (Radcliffe), the room goes silent. Like Voldemort, he is not to be mentioned by name.

From there, the plot moves backward in time, first showing what Charley did to earn Franklin’s wrath, then detailing all the events that led up to that moment. It’s a tale of differing ambitions and shifting visions of what their work should be.

This probably goes without saying, but the show is great. The songs have catchy melodies and witty lyrics. Excellent production design allows the set to seamlessly transform itself as required by the plot. Learning the trajectory of the Franklin/Charley relationship offers plenty of drama to keep you on the hook. Everything has been beautifully, meticulously crafted.

And, of course, the performances will blow you away. Jonathan Groff is mesmerizing as he powerfully captures Franklin’s relentless – and occasionally merciless – drive to succeed. Radcliffe is an enormously charming presence, especially when nailing the lyrically complex showstopping song “Franklin Shepard, Inc.” Lindsay Mendez, meanwhile, is a total scene-stealer, delivering one-liners with expert precision. This trio of actors could not be more perfect.

The problem with Merrily We Roll Along is that director Maria Friedman, who also helmed the stage show, is over-reliant on close-ups and rapid editing. I recently had the chance to see The Outsiders on Broadway and it drove home an important realization: the magic of theater comes from seeing a group of people executing choreography and movement in well-timed unison. It’s where all the hard work becomes most visible. The movie’s failure to consistently use wide shots causes a loss of the necessary scope during several sequences. Same goes for the music video-style cutting. The filmed version of Hamilton achieved a more successful balance.

Should that stop anyone from seeing Merrily We Roll Along? No. There’s significant enjoyment to be derived from the story, performances, and songs. Just be prepared that you might come away satisfied but still wishing you’d been able to see it in person instead.

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