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.

Little Shop of Horrors

A-

Did New York really need another revival of this oft-produced cult musical by the talented team of Howard Ashman and Alan Menken? Without having seen it, I would have said “no” and I would have been wrong. This is a revival with a difference, combining big talent with small scale. It is not often that we get to see Broadway stars like Christian Borle (Something Rotten!, Peter and the Starcatcher, Falsettos) and Jonathan Groff (Spring Awakening, Hair, Hamilton) in such an intimate space, in this case the Westside Theatre. Since the show only has eight actors (one of whom is unseen) plus two puppeteers, it really belongs in a small theater rather than on Broadway. (Alas, Broadway talent, even in an off-Broadway theater, comes with Broadway prices.) The ever-watchable Christian Borle is amazing here in several different roles, most notably that of Orin, the sadistic dentist (a role created by Jack Nicholson in the original Roger Corman film). He makes it clear why he has two Tonys. The versatile Jonathan Groff captures both the nebbish and the opportunist in Seymour. Tammy Blanchard (Gypsy, How To Succeed in Business Without Really Trying), in the unenviable position of following the memorable Ellen Greene as Audrey, wisely does not attempt to imitate her. Blanchard’s Audrey seems even more world-weary and insecure. Her voice, while pleasant, is no match for Greene’s. Tom Alan Robbins (Head Over Heels, Newsies) is fine as Mushnik, Seymour and Audrey’s gruff boss. The three urchins — Ronnette (Ari Groover; Head Over Heels), Crystal (Salome Smith) and Chiffon (Joy Woods)— who serve as Skid Row’s amusing Greek chorus, are terrific although it is occasionally difficult to hear their lyrics over the orchestra. The unseen Kingsley Leggs (Sister Act, Pretty Woman) nails the voice of Audrey II, the plant with a taste for human blood. The puppet, designed by Nicholas Mahon, is wonderful and is skillfully manipulated by Eric Wright (Madama Butterfly at the Met) and Teddy Yudain (The Little Match Girl at Spoleto USA). Julian Crouch’s (Head Over Heels, Big Fish) modest set is efficient. Tom Broecker’s (Everyday Rapture, “Saturday Night Live”) costumes are apt. Director Michael Mayer’s (Spring Awakening, Brooklynite) flawless direction pulls it all together splendidly. The book and lyrics by Ashman (Smile, Beauty and the Beast) and the music by Menken (Beauty and the Beast, Newsies, Aladdin) continue to delight. Each of the stars seemed to have an avid fan base from previous stage, film or television appearances; the audience was wildly enthusiastic. I was glad I splurged on a ticket because it was a very enjoyable evening. Running time: two hours including intermission. 

NOTES: 

After January 19, Jonathan Groff will be replaced by Gideon Glick, who filled in for him for two weeks when he had another commitment. 

It is unfortunate that the upstairs theater at Westside is inaccessible to wheelchairs.