MERRILY WE ROLL ALONG First Performance...- Page 3

[devonian.t]

Posted: 2/9/12 at 3:40am

What a crazy season! Who would have thought we'd see revivals of 2 of the biggest flops from the 80s within the space of a couple of weeks.

Carrie and Merrily both get a dusting down. Funny how timing goes.

[EricMontreal22]

Posted: 2/9/12 at 4:28am

Anyone Can Whistle has a prelude which is short and largely intact on the cast album--but I suppose it counts (it has parts of Simple, etc, in it though on stage I believe it then fades into I'm Like a Bluebird which is left off the cast album--when is JAY gonna release their 10+years in the vault complete recording already?). Follies as mentioned has the staged prologue and then a more traditional overture at the party's opening...

And Bounce has an overture, but Road Show doesn't. Night Music and Forum as mentioned... But Tunick's overture for Merrily truly is up there with the best I think...

[EricMontreal22]

Posted: 2/9/12 at 4:29am

*edit* Sorry I see Follies and Whistle were already mentioned...

[EricMontreal22]

Posted: 2/9/12 at 4:35am

For those who could tell, was the libretto edited at all like it sometimes is with Encores, or intact?

As others mentioned, Gussies role was expanded for the revised production (ironically particularly as she had material like with The Blob that was cut in previews of the original production). While even on the revival cast album Gussie doesn't make too much of an impression compared to Beth (though I love Pawk's "He's only a boy" reprise of Good Thing Going on the recording, and like the idea of it being expanded into a full dance number), I agree with others that having done a community production of the show (as Charlie) and seen a very good regional production--both essentially the 1994 York versions--I was initially quite surprised at how little Beth's role feels developed, with Gussie feeling much more like the female supporting league.

[EricMontreal22]

Posted: 2/9/12 at 4:37am

"Holy hell!!!!! It's amazing!! 23 piece orchestra with strings!! They sound amazing. They did the full 1981 overture.
It feels like a fully staged production. Scripts were only used for the first half of act 1 and now are gone. "

I'm confused about the strings comment--are the orchestrations with more strings than the OBCR had (which aren't too apparent with the way the album is mixed). At least they don't sound, I imagine, like those synth strings on the York cast album... (Though I'm nearly certain that that recording uses the original overture with maybe Rich and Happy's inclusion near the end changed--I need to give it another listen).

[chewy5000]

Posted: 2/9/12 at 4:54am

The revised version of the show leaves out the last third of the Overture, transitioning into the title song straight after the "Good Thing Going" section. Which is a shame, because it has such a great ending.

[themysteriousgrowl]

Posted: 2/9/12 at 8:18am

Matthew Murray reviews mixed-to-negatively.

http://www.talkinbroadway.com/ob/02_09_12.html

[iluvtheatertrash]

Posted: 2/9/12 at 8:26am

I was pretty disappointed, though I thought Celia was fantastic.
The sloppy musical direction drove me nuts. How could he not correct/catch the fact that half the cast was singing/pronouncing the word "our" incorrectly? Was driving me crazy!!!

I thought the cast was fine. For the most part, nothing to swoon over. Franklin Shephard Inc was fine. Though I found it a little one-note. I thought Colin was pretty dull, and was hoping for more pizazz.

Eh... It wasn't awful. I was just hoping for/expecting more.

Odd choice for Colin to play piano in Growing Up but not in Good Thing Going...

[themysteriousgrowl]

Posted: 2/9/12 at 8:34am

I read that you were hoping for more pizzas.

[best12bars]

Posted: 2/9/12 at 8:39am

I think the main reason Merrily wasn't a hit the first time was because of its lack of pizzas.

EDIT: How could he not correct/catch the fact that half the cast was singing/pronouncing the word "our" incorrectly?

Let me guess ... they sang, "It's ARRRR time," like a bunch of pirates.

For the record, I think the part of Gussie was actually expanded for the 1985 production in La Jolla when Mary Gordon Murray played the part. That was the real major rewrite from the original. The part of Beth has always been smaller, even when Marin Mazzie played it (in the same production). But she comes on and has that powerful scene in front of the courthouse, leading up to "Not a Day Goes By," which, if done as well as Mazzie did it, stops the show completely. It may be a small role in stage time, but it's a powerful and memorable one.

As far as Mary and Charlie, their roles have never been as big as Franklin. It's not equally shared as a trio of hopefuls. Franklin is the lead. It's his story, not theirs. They play major parts in his life, but they're supporting roles. It sounds like Celia and Lin haven't found themselves in the parts yet, but there's still time.

Updated On: 2/9/12 at 08:39 AM

[iluvtheatertrash]

Posted: 2/9/12 at 8:44am

It IS spelled that way, right? If not, that's what I get for posting as soon as I wake up.

I thought Colin was fine, but a little dull. I didn't think he was nearly charming enough - though this must be a problem with the book as well, since these people are so incredibly unlikable.

Celia truly surprised me. I was not expecting that performance from her.

[iluvtheatertrash]

Posted: 2/9/12 at 8:46am

Jordan, I must be in the minority. But I thought it felt VERY long.

[Jordan Catalano]

Posted: 2/9/12 at 8:50am

Has anyone sat in the very back of the balcony yet? Have the sightlines been fixed or are there still bars obstructing the view?

[best12bars]

Posted: 2/9/12 at 8:51am

Pizazz can be spelled as you did, or with two Zs, as in "pizzazz." Either way.

Franklin definitely has a character arc. He shouldn't be all charming all the time. He's a bit of an empty shell at the beginning (end), and as the show progresses (regresses), he eventually gets more charming, hopeful, and likable.

[Jordan Catalano]

Posted: 2/9/12 at 8:53am

I was so drunk last night I stumbled to the pizazz place on 42nd st and ate way too much. I'm paying the price this morning.

[best12bars]

Posted: 2/9/12 at 8:54am

Easy on the pizzaz there. It'll make you fat.

[iluvtheatertrash]

Posted: 2/9/12 at 8:56am

Oh, good. I'm a little sick so I was in that morning haze...

I saw pieces of that in Colin's performance. I just was underwhelmed. I felt like "Growing Up" should've been a turning point, but eh...

The pre-production work on those projections must have been massive. What would they do if it moved and had an understudy go on? Would there be 6 different versions? All seems unlikely...

[best12bars]

Posted: 2/9/12 at 8:59am

Growing Up is a turning point, but in both directions. Franklin first sings it alone, very reflective, and you actually think he's maturing into a sensitive adult. Then Gussie comes in, and it's sung again and used as a "seduction" song, steering Franklin in a whole different (and sadly unintended and regressive) direction. I love that scene/song. A lot going on there.

Updated On: 2/9/12 at 08:59 AM

[themysteriousgrowl]

Posted: 2/9/12 at 9:00am

It's your fault for not going to Pizazz 33.

I saw MERRILY at a sketchy community theater 11 years ago and had the distinct feeling that it wasn't just the production that failed to deliver, but pretty much nothing can diminish my excitement for this on Sunday. I grabbed a single seat at the side orchestra. It'll be my first time at Encores! and City Center. Does the overture stage-door?

[best12bars]

Posted: 2/9/12 at 9:01am

I hear the overture is horny, but doesn't stick around for the end.

[iluvtheatertrash]

Posted: 2/9/12 at 9:02am

If the overture DID stage-door, I would've asked for it's autograph.

Ah, thanks best12. I've never seen it performed, though I know the CD and libretto (well... one of them) very well. I wish I had gone a little later in the run, but am glad I finally got to see it.

Would love to get to Cincinnati... alas....

[WhizzerMarvin]

Posted: 2/9/12 at 9:04am

Jordan- I sat in the balcony for a dance benefit and I believe the bars are gone. The sightlines were much better up there than I remember them being. I sat in the mezz last night though, so can't remember clearly.

I agree with Kad and ljay about the pacing. Act One really flew. I turned to my friends thinking it had been 30 minutes. I think it was because I was so invested in the book scenes and wanted more of them.

iluvtt- I thought Colin had the best character arc of the bunch. His transition from numb Hollywood producer to optimistic young composer was dead on. The final scene on the roof was moving; when they saw Sputnik and he was singing "Our Time" it killed me.

I saw the show last night with two very dear friends, and during that song I thought about how happy the three of us are now and hoped we don't suffer the same fate Frank, Charley and Mary did. I think I thought these things because Colin so convincingly took us on the journey and I felt his Frank never knew what hit him. I could just as easily repeat his fate because I never felt he did anything "wrong." Colin succeeded in making Frank sympathetic.

[themysteriousgrowl]

Posted: 2/9/12 at 9:06am

"I hear the overture is horny, but doesn't stick around for the end."

LOLOLOLOL

Ugh. Like so many of my A4A dates.

[CurtainPullDowner]

Posted: 2/9/12 at 9:08am

I still don't understand a Charley that can't sing.

[best12bars]

Posted: 2/9/12 at 9:09am

I always thought this show should work better than it does, and I've never been able to put my finger on why ...

... other than its main concept. I think it's too unsettling for people to watch this story with these people unfold backwards. To start out negative and lost and end up positive and hopeful actually leaves people with a curiously empty and troubled feeling themselves. And somewhere along the way, they lose interest and/or a connection to the characters. Rather than gaining ground throughout the journey, they lose it. Very strange.

I've always loved this show, especially since the 1985 La Jolla rewrite, and it's one of my favorite Sondheim musicals, successful or not. I love the book, too, not just the score (which I find one of his best). It's incredibly well written, even if there is an inherent fault to the material because of the concept (specifically pertaining to these characters).

Updated On: 2/9/12 at 09:09 AM