I had been to the WAAPA campus at Edith Cowan University before but this was my first show there and one I’ve been waiting for. In many ways, it’s just another uni, but on the other hand there is something about walking WAAPA’s corridors and imagining the talent that started here that is exciting and special.
Merrily We Roll Along by Stephen Sondheim was at The Roundhouse Theatre, a venue of I estimate about 150 seats where every spot will give you an intimate view. In fact right from the beginning when the third year musical theatre students confidently entered the stage there was connection. They made eye contact. They engaged immediately. It made for a powerful opening. I wonder what they are thinking when we look back in their eyes and smile!
Flat story or…
Merrily We Roll Along follows a composer’s story in reverse. As the show goes on, you discover what happened before what you’ve seen so far. Consequently, there are some dots of the plot that are designed to not be connected until later on.
For me, it’s not the most riveting story. The guy had the wrong priorities, made bad decisions, has an affair, gets divorced, re-marries, becomes miserable, and has to live with the consequences. He hates his life and loses a lot. Cause that’s what happens if you are foolish.
Harsh, I know.
Perhaps people will say it’s about friendship and remembering your roots or what’s important. Because it goes backwards you end up liking him at the end of the show, but that’s misleading. Don’t forget what he became when he was older, at the start of the show that is. He brought it upon himself and, compared with far worse challenges that people in the real world are facing through no fault of their own, he didn’t get my sympathy.
But maybe my reaction to this guy is actually the point of the whole musical: to look at how well people start off, full of hope and potential, and how often we then mess it up. Maybe, on second thoughts, Merrily gives a riveting and important topic for us all to reflect on after all: How will you live your life? It’s a valuable reminder and the fact that the plot is not extraordinary makes it more significant; it’s closer to home and what we see in our own lives and of those around us. We mess up, we make bad choices. But we can learn from Frank’s mistakes; we still have an opportunity to change.
Production
There are plenty of songs you’ll want to listen to on the drive home. The orchestra of music students did a great job all night especially when the characters were “playing” / miming on the piano and the actual band made the sound; they were note for note synchronised.
There are some chaotic scenes where it’s intense back and forths between multiple characters. The song “Franklin Shephard Inc.” is the venting of his collaborator and was performed entertainingly by Koert van der Laan. There are lots of different characters to be portrayed and perhaps all these aspects made it a good choice for theatre students.
The set was fantastic and a top drawer example of creativity mixed with professional ability. The lights, how the years wound back plus the various headlines from the story was all quality and supported the show without taking it over.
I enjoyed the colours. They were really well coordinated, like the white phone on a black piano. The costumes matched their character too; for example Joe remained in his grey suit throughout, which suited who he was; in contrast Gussie kept changing wardrobe; when the three main friends sung together their clothes didn’t clash but looked complimentary, reflecting their relationships.
There is some comedy but not a lot. I always enjoy more dancing but it’s not that sort of show. When they did do a big group dance together it was fantastic and a “finally!” moment.
What would the lecturer say?
Incredibly presumptuous I know, but if I were the staff at WAAPA I would give the following feedback:
- You could tell these performers cared about doing it well.
- I enjoyed watching a show where I could be confident the cast had what it takes to pull it off. I knew they could act and hit the high notes. No grimacing required; just enjoy.
- Therefore: well done indeed.
It’s a treat to get close access to such performing; the context is the only difference. It could easily be that the next time you see names like Nye Morrison and Olivia Chatto it’s at the Lyric in Sydney or Her Majesty’s in Melbourne.
Until then, go and see if there are any more of the limited seats available and use intermission to reflect on how you want to one day look back on your own life.
