Photo: Konrad Bartelski

It fizzes with youthful exuberance and talent but Katherine Hare’s imaginative direction and Julia Cave’s sharp choreography ensure that this production of Merrily We Roll Along never lurches out of control. The level of professionalism is richly impressive.

Sondheim’s 1981 musical tells the story of a successful musical theatre composer, Franklin Shepard, from 1955 to 1980. We start with him hosting a glitzy show biz party and then wind back in a series of “transitions” so that eventually we see Franklin as a teenager – watching Sputnik on the roof of a “rooming house” where he meets his future lyricist, Charley Kringas and his soon-to-become life-long friend, Mary Flynn. George Furth’s book is strong and compelling – there’s a lot of angst and heartbreak in this story. And I was struck more than ever this time by the way the reverse narrative highlights the poignancy. Because we know what happens in the future, the hopeful teenage enthusiasm at the end is tempered with rueful sadness.

There are no weak links in this cast and the show is characterised – as anything by Sondheim needs to be – with excellent ensemble work from which lots of minor roles emerge, thus making this a good choice for a youth theatre with a company of 28.

Amongst the outstanding team of principals, Thomas Oxley as Charley, sings a fabulous patter song in the first act, sings lyrical numbers with warm musicality and has a good line in rueful looks. Madeleine Morgan excels as the troubled, eventually alcohol-dependent, tactless Mary Flynn and her wide-range singing voice allows her to cover complex moods. Matilda Shapland’s Beth is petite, pretty and joyfully supportive as the idealistic young first wife with beautiful silvery soprano voice.

Toby Owers finds plenty of nuance in Franklin who wants to compose more than anything else but is, inevitably, tainted by commercialism. And Sophie Lagden commands the stage whenever she’s on it as the over-acting, self-interested ruthless Gussie who becomes Franlin’s second wife but it isn’t going to last. Her powerful singing voice is perfect for the role.

All this is accompanied by an 11-strong youth band visible at either end of a balcony above the stage. They play with precision and passion under Leigh Thompson’s musical direction and I was delighted to see them all out of the shadows for applause at curtain call,

South Playhouse’s new Elephant venue provides a wide, inclusive playing space with audience on three sides and this production uses every inch of it including the two side aisles through the audience. The balcony between the two sections of the band is integrated into the action too.

In short, it’s a treat to see so many young people finding and exploring their (considerable) potential in a show of this quality.

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  Photos: Konrad Bartelski

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