BWW's Workmanarts directs MERRILY WE ROLL ALONG!

[eslgr8]

Posted: 3/4/06 at 8:12pm

A few years ago, it was my pleasure to share the stage (in the WWII prisoner of war comedy Stalag 17) with Phil Miller, who contributes here under the screen name workmanarts. Phil recently invited me to the opening night of his latest directorial project, Stephen Sondheim’s Merrily We Roll Along, at the La Habra Depot Theater, in the Los Angeles suburb of La Habra, California. Since this is one Sondheim show I’ve never seen, and since I’d been impressed by that theater’s production of Nine, it was my pleasure to accept his invitation.

Opening night was last night and I can report that Phil has assembled a very capable cast and crew to present a well acted and sung production of this lesser known Sondheim gem.

Merrily We Roll Along (La Habra is doing the revival version which starred Malcolm Gets) tells the story of the friendship between a composer, a lyricist, and a writer (Franklin, Charley, and Mary) in reverse chronological order, beginning in 1976, when success and conflicting career goals have pretty much shattered their twenty year bond, and ending in 1957 when they first met. This going back in time approach challenges the audience while at the same time adding poignancy to the story; rather than conclude with the friendship in disarray, the final curtain is on the bittersweet image of three young friends just beginning life’s journey. It also adds special moments of irony, such as first hearing Good Thing Going sung as a rather loud and grating Broadway “showstopper” only to later discover it the way it was supposed to be sung, at a party years earlier.

There are many strong elements in Phil’s production (which takes place on La Habra’s small but relatively deep stage). The company is vocally very strong (particularly in the recurrent title song). As someone with a very limited vocal range who finds harmony a challenge (to put it mildly), I find this to be a noteworthy achievement for a group of generally very young non-Union actors. Mark Gamez has staged the musical numbers inventively, keeping the stage in movement during the ensemble numbers. Company members also move set pieces, furniture, and props to make the many scene changes move fluidly. (Tom Grasshof’s simple white set design and Phil’s lighting design are just right for a production with a limited budget and numerous set changes.) A standout in the ensemble is Alaina Childs, especially in her turn as a Barbara Walters like TV host. Childs has the newswoman’s false charm down pat.

As in most non-Union (I hate to use the word amateur or community theater) productions, the strength of the show is in its leading actors, and this Merrily We Roll Along is no exception. David Farkas is handsome and charismatic as Franklin (and the fact that he accompanies himself on the piano in a couple of songs adds believability to his characterization). Jason Lewis provides a fine counterpoint as his partner Charley, whose manic rendition of Franklin Shepard, Inc. (in the TV interview segment with Childs) is a highlight of the production. Jerry Marble and Julie Brydon each have effective moments in their supporting roles. And Abigail Kinnahan, as Broadway diva Gussie, grows steadily stronger (and more glamorous) in the role. Kinnahan has both the looks and the voice to make the audience believe that (despite being a bit young for the role) she is a real Broadway star.

And speaking of stars, the production’s most stellar performance is that of Tara Pitt, who goes from fat and bitchy and drunk in the show’s opening scene to slim and sweet and naively optimistic by the evening’s end. Pitt is not only a fine actress but has one of the purest and richest singing voices you’re likely to ever hear in a non-Union production.

The accompaniment is pre-recorded (but I believe done specially for this production) and though I generally prefer a live band, the excellent sound mixing at the Depot (the performers are miked) gives this production a bigger “Broadway” sound. Gamez’ myriad costumes are colorful and mostly reflect the time frame (though his 70s polyester jackets are very much out of place for the early 60s scenes and Jackie Kennedy would never have been caught dead in a Mamie Eisenhower hat) and Noelle Juarez has contributed the effective wig designs for the women in the cast.

Phil Miller and his cast and crew can be deservedly proud of the production they have put together. Sondheim’s score (which features more hummable songs--Not a Day Goes By & Good Friends to name only two) than many of his later works) is served well by the talented cast. All in all, this is a production worth seeing if you happen to be anywhere near La Habra. It was about a 50 minute drive for me on surface streets (La Habra is north of Fullerton, Whittier adjacent, if that helps) but I was glad I made the trek.

http://merrilywra.tripod.com/

http://www.lhdepottheatre.org/home.htm



Updated On: 3/4/06 at 08:12 PM

[workmanarts]

Posted: 3/6/06 at 3:57pm

Steven-

Thank you very much for the kind words. A group of your fellow ovation voters were there on Sunday (not sure if you had anything to do with that), and seemed to enjoy themeselves.

Any BWW posters who care to make the trek, please pm me for some discount codes.

Cheers!!

PM