Merrily We Roll Along

Whose idea was it to film it that way? I hated how it was shot it's the worst pro shot I've seen. I'd rather watch a slime version than the way this was shot. They zoomed in all up on people's faces for no reason. This was not a movie, everyone on the stage matters. The constant flashing from one face to another instead of just show the whole stage was so annoying it took me out of the experience. I saw a video on Maria's reasoning as to why she chose to do that close up and I think for me personally it didn't work. It's an experiment I hope is never done again.

I was fortunate to see this revival of Merrily We Roll Along in November 2023 although Lindsay Mendez was not in it. She, Daniel Radcliffe and Jonathan Croft have great chemistry with portraying these characters. The music and the story is so inspiring. It was wonderful to see this musical on the big screen that had filmed in front of an audience before the production closed. Sondheim would have been proud of this production of a musical that was unlike anything audiences had seen when it opened on Broadway in 1981. Recommend seeing the documentary about the making of the original production the Best thing that ever happened.

Merrily We Roll Along is a theatrical musical production adapted for the big screen, capturing the essence of its stage origins while attempting to translate its story to a cinematic format. At its core, the narrative follows two lifelong friends, both playwrights, and a female novelist whose relationships with each other evolve and strain over time due to fame, ambition, and life's inevitable changes. The play's structure and storytelling highlight the bittersweet realities of personal and professional growth, showing how the characters' bonds are tested as success and individual choices intervene. While the premise is strong, the film adaptation struggles to fully capitalize on the intimate charm of live theater.

One of the film's standout features is its cast. The leads, including recognizable actors such as Kristoff (from Frozen) and Elijah Wood (The Lord of the Rings), bring impressive energy and dedication to their roles. Their performances are emotionally engaging and dynamic, effectively conveying the highs and lows of friendship, love, and professional rivalry. The chemistry between the main characters feels genuine, making their journey relatable despite the heightened theatricality. The female lead, although less known, fits seamlessly into the story, providing a compelling counterpart whose perspective on success and ambition adds depth to the narrative.

However, the transition from stage to screen introduces challenges. Many of the play's comedic moments, dramatic beats, and emotional nuances lose their impact in a cinematic setting. The immediacy and intimacy of a live theater experience-the laughter, gasps, and collective energy of an audience-cannot be replicated on film, leaving some scenes feeling flat or less engaging than intended. At times, the film's pacing seems uneven, as the story attempts to cover a lifetime of experiences within a fixed runtime, which can make certain emotional arcs feel rushed or underdeveloped.

Musically, Merrily We Roll Along offers a substantial number of songs, but the soundtrack lacks memorable, show-stopping numbers that linger in the audience's mind. While the songs effectively move the plot forward and convey the characters' emotions, none rise to the level of iconic musical moments that might elevate the film beyond a faithful stage adaptation. This diminishes the potential for emotional resonance, particularly for viewers unfamiliar with the original play. The orchestration and performances are competent, and the actors' vocal abilities are solid, yet the overall musical impact feels subdued.

Visually, the production maintains a stage-like aesthetic, relying heavily on theatrical sets and choreography. This creates an authentic reflection of the original play but further highlights the limitations of adapting a stage performance to film. Cinematography and editing attempt to bridge the gap, but the film occasionally feels static or overly staged, emphasizing theatricality over cinematic storytelling. While this may appeal to die-hard theater fans, it can alienate viewers seeking a fully immersive cinematic experience.

In conclusion, Merrily We Roll Along is an ambitious and emotionally resonant story that succeeds in capturing the spirit of the original musical while showcasing strong performances and dramatic relationships. Its adaptation to film preserves the theatrical essence but diminishes some of the live-play energy, leaving musical numbers and comedic beats less impactful than intended. For enthusiasts of musical theater and fans of the cast, the film is an enjoyable watch that provides insight into friendship, ambition, and the personal costs of success. However, for those seeking a cinematic musical with memorable songs and dynamic visuals, the film may feel more like a faithful recording of a stage production than a standalone movie experience. It is a unique theatrical experience on screen, best appreciated for its storytelling and performances rather than as a traditional film, and would likely be more compelling when experienced live on stage.

I had two primary issues with this Merrily (which I've seen live multiple times on both coasts). First issue: The over-the-top Les Misérables Hooper-in-your-face shots are often disconcerting - why are we presented with cast jump shots? The choice to pull back to the proscenium versus full-face seems almost random. This is annoying. Second issue: The over-the-top histrionics especially in the first scene feel out of place - caricature upon exaggerated caricature. Is this Sondheim or Telenovela? Not that I'd want to cut something out (this is Sondheim) but parts of this production do drag in the middle. Glad there's a permanent record of fine actors (strong nods to all the leads) giving their all to Merrily but, as mentioned, I do question a number of the directorial / cinematographic choices.

Greetings again from the darkness. For live theater lovers, the film version of a favorite play or musical comes with pros and cons. The film's director, Maria Friedman (a renowned stage actor) strives to deliver the intimacy of a stage performance with cinematic qualities. What we see was the filming of a stage presentation in June 2024 at The Hudson Theater in New York City. The story was written by George Furth with music by Stephen Sondheim, only the production has quite an interesting history, with an original production in 1934 written by George S Kaufman and Moss Hart.

The story structure is fascinating in that it's presented in reverse order. The opening sequence shows the resulting breakdown of friendship between three: composer Franklin Sheperd (Jonathan Groff), playwright and lyricist Charley Kringas (Daniel Radcliff), and theater critic and author Mary Flynn (Lindsay Mendez). All three actors are Tony Award winners and are in prime form here. We then proceed to go back in time across three decades as the years are noted. Instead of watching this friendship triumvirate breakdown, we watch the bonds grow stronger ... only of course this is actually putting the causes of the breakdown on center stage - one phase at a time.

It's not just the three leads who are standouts. Katie Rose Clarke as Beth Sheperd, Krystal Joy Brown as Gussie, and Reg Rogers as Joe Josephon are all excellent. It's rare to find so many superb soloists in one program, and each has their moment (or moments) to shine. Beth is Franklin's first wife and the mother of his child. Gussie is a Broadway star and Franklin's second wife, while Joe is a producer who experiences the highs and lows of show business.

While the play-it-in-reverse structure provides a uniqueness to the presentation, the story itself has quite a bit to offer in terms of complexity. The fragility of friendship and the importance of constantly working at relationships is front and center, yet it's only one element. Also on display here is how cruel show business can be. Sometimes you are loved and showered with adulation, while other times they say you are too old for a role. Ego and emotions are constantly in play here, including envy and arrogance. Although it's the sneakiest element, perhaps my personal favorite is the unrequited love Mary carries towards an unaware Franklin. It leads to her bitterness and alcoholism, and her story is the most interesting when you read about the origins of Kaufman's story. When the opening number is a robust, "How did you get to be here?", the rest of the play is spent showing us.

Opening in theaters on December 5, 2025.