Merrily We Roll Along

 A

My only previous experience of Sondheim and Furth’s (Company) 1981 famous flop was the extremely stripped-down version by Fiasco Theater three years ago. While that was enjoyable, it did not provide many clues why Merrily… has become a cult classic. It certainly didn’t prepare me for the exciting experience I had today at New York Theatre Workshop. This production is basically the same version that originated at the Menier Chocolate Factory in London several years ago and went on to the West End where it won the Olivier. There is so much to praise that it is hard to know where to begin. Perhaps the most important of its many strengths is the brilliant casting. The roles of Frank, Charley and Mary fit Jonathan Groff (Spring Awakening), Daniel Radcliffe (Lifespan of a Fact) and Lindsay Mendez (Carousel) like gloves and they play off each other very well. The secondary roles are equally well-cast, including Krystal Joy Brown (Motown)as Gussie, Katie Rose Clarke (Miss Saigon) as Beth, and Reg Rogers (Holiday) as Joe. The songs are well-sung and well-integrated into the action. Jonathan Tunick’s orchestrations for reduced orchestra are fine, but the sound level was occasionally too loud. Soutra Gilmour’s flexible set serves the show well and her period costumes are a delight. Tim Jackson’s (Stepping Out) choreography is a treat. Finally, there is Maria Friedman’s (High Society) skillful direction, which pulls everything together brilliantly so that the gimmick of telling the story of youthful hope leading to middle-age disillusion backwards makes perfect sense. I hesitate to recommend the show too enthusiastically since the entire run is sold out. One can only hope for an extension or a move to Broadway. Running time: two hours 30 minutes including intermission.

Lifespan of a Fact

A-

The Broadway season just got a lot brighter with the arrival of this star-studded comedy at Studio 54. With three stars — Daniel Radcliffe (Equus, The Cripple of Inishmaan), Cherry Jones (The Glass Menagerie, The Heiress) and Bobby Cannavale (The Hairy Ape, The Motherf**ker with the Hat) — any of whom alone would be reason enough to see the play, and a plot that is both funny and intelligent, it is cause for celebration. Based on a book by John D’Agata and Jim Fingal which was in turn based on an essay written by D’Agata and fact-checked by Fingal, it explores the difference between facts and artistic truth and the distinction between essayist and journalist. That may not sound like promising material for a comedy, but the playwrights — Jeremy Kareken, David Murrell and Gordon Farrell — (why it took three writers, I cannot imagine) have embellished the story in very entertaining ways. They have added the character of Emily (Jones), the magazine editor, to negotiate the chasm between John (Cannavale) and Jim (Radcliffe) and ginned up the pressure by condensing a 5-year battle to 5 days. All three roles are juicy and the actors play them to the hilt. In addition to the laughs, there is plenty of food for thought — the importance of getting things right in the age of fake news and relentless social media, the forces threatening print media, and differing concepts of accuracy and truth. There is some loss of energy during the last quarter-hour that stands out because the play is so energetic until that point. Additionally, we don’t learn very much about the characters, particularly about Emily. A few narrative threads get dropped. None of these flaws seriously diminished my enjoyment. A notable fact about this production is that it is the first on Broadway with an all-female design team —Mimi Lien (set; Natasha, Pierre & the Great Comet of 1812), Linda Cho (costumes; Anastasia), Jen Schriever (lighting; Eclipsed), Palmer Heffernan (original music and sound design; Collective Rage) and Lucy Mackinnon (projections; After the Blast). The sleek opening set morphs into something quite different. The costumes were appropriate to the characters. Leigh Silverman’s (Violet, Chinglish) direction is unfussy. It was a very enjoyable 90 minutes.

Privacy *** B

The collaboration between London’s Donmar Warehouse and the Public Theater is off to a good start with this ingenious production created by writer James Graham and director Josie Rourke. Substantially revised from the 2014 Donmar version, the play is an informative essay on the uses and abuses of cybersurveillance, wrapped in the tale of an emotionally closed British writer who moves to New York to learn to open up a bit (or is it really just to pursue his ex?). The admirable Daniel Radcliffe, who never repeats himself in his choice of roles for the New York stage, plays the writer. The other actors — De’adre Aziza, Raffi Barsoumian, Michael Countryman, Rachel Dratch and Reg Rogers — skillfully play a multitude of roles including psychiatrist, parents, neighbors, cyberexperts and intelligence agency officials. We even get an appearance on video by Edward Snowden. There’s also an onstage digital researcher (Harry Davies). Audience participation is an important part of the proceedings. People are urged to turn on their cellphones (silent mode, of course), log onto the theater’s wi-fi network, use Google, take selfies and email photos of favorite New York locales. None of this material goes to waste. The first act sets up the basic situation and settles the writer in New York. In the second act, both funnier and scarier, he ventures into the world of online dating. Radcliffe is front and center the whole time except for a lengthy episode in Act Two which begins as a case of identity theft and turns into something darker. There's a demonstration of the mountain of information collected by one's smartphone that is truly alarming. Lucy Osborne’s set is simple but witty; it features the ultimate overstuffed couch for analysis and a New York skyline made of Amazon cartons. Duncan McLean’s projections add a lot, including identifying the many characters. Paul Tazewell’s costumes are unobtrusive. Occasionally the informative and entertainment elements of the play get in each other’s way. At other times the material threatens to become repetitive. Nevertheless, it makes for a most unusual theatrical experience. Too bad the entire run is virtually sold out. Running time: 2 1/2 hours including intermission.