Fringe 25: Merrily We Roll Along

EUSOG, Merrily We Roll Along

Rating: ★★★★

EUSOG’s 2025 Fringe outing is an entertaining though at times unambitious staging of Sondheim’s trademark lyrical stylings, featuring strong performances by its principal cast, and exciting ensemble routines. With laughs and pathos to spare there’s plenty to enjoy in this lengthy but well-paced performance.

Despite its troubled history Merrily holds a special place amongst musical fans (and Sondheim fans especially) and having been exposed to the show for the first time here it’s clear why. Overlapping melodies, rapid-fire ballads of complex wordplay, and an adherence to repeating leitmotifs abound throughout the show’s musical numbers marking it as one of the most technically complex and demanding musicals I have ever seen. Thankfully these demands are met by a dynamic and energetic cast of performers led by the marvellous trio of Max Middleton, Levi Jones, and Bella Burgess who excel as a wonderfully realised group of friends who kept my interest for the show’s entire runtime.

The story centres around Franklin Shepherd (Middleton), who begins as a successful Hollywood producer at the height of his career, surrounded by friends and hangers-on at a fancy soiree while a forlorn Mary Flynn (Burgess) drinks alone in the corner of the room. Very soon the thin veneer of Franklin’s success is wiped away as the cracks in his social life widen until he is left almost entirely alone - wealthy, and unhappy. From then on scenes play out in reverse (chronologically that is - the cast don’t suddenly begin singing backwards) as time winds back and we see what Franklin had to give up in order to be successful, the friends he had to betray (such as his closest collaborator Charley Kringas (Jones)) and the mistakes he made that sealed his tragic fate.

Max Middleton brings sufficient gravitas to Frank throughout the show as we see his regression from jaded socialite to an optimistic dreamer - his strong vocal work shines throughout (even amidst technical issues his voice clearly reached the back of the theatre) and he displays a talent for emotional range as we see him grapple with his artistic and personal struggles in every scene. Equal praise must be given to Levi Jones and Bella Burgess who act as the heart and soul of the production; Jones’ long-suffering Charlie Kringus is the typical put-upon artist, struggling to maintain his integrity amidst the morally bankrupt entertainment industry. As the group’s lyricist it is understandable that he is given perhaps the wordiest song in the whole show which Jones handles with aplomb; he deftly avoids the pitfalls of Sondheim’s complex lyricism and portrays his character’s acute frustration to hilarious effect. Burgess’ Mary Flynn is one of the highlights of this production: always ready with a pithy one-liner, her charismatic optimism is the glue that keeps the trio (and the show itself) together. Her marvellous singing voice resonates with emotion as she too struggles with newly found fame and her unrequited love for Frank. Each actor is a strong performer in their own right but they are at their best when they are on stage together, the three of them bouncing off one another with an infectious energy that is a delight to witness.

Credit must be given to the rest of the ensemble who help to flesh out the complex narrative, in particular Elham Khosravipour as the gloriously arch Primadonna/femme fatale Gussie Carengie who without a doubt gets some of the best lines in the show. She portrays the surprisingly nuanced devil on Frank’s shoulder, dancing and singing with the grace of a Golden Age Hollywood star. Other standouts include Lucy Walker as Frank’s first wife Beth, a tragic character whose betrayal by Frank is signposted in the very first scene; a well-balanced performance by Walker tackles her transition from the tragedy of her present to the optimism of the past excellently. And Daniel Fischer is also very entertaining as the sleazy producer Joe Josephson who captures the fast-talking, money-making New Yorker with glee.

Surprisingly for a show that covers such a complex plot over a long period of time the presentation is remarkably stripped back which proves to be a blessing and a curse. This production features a dynamic set comprising of suitcases variably arranged to represent furniture, props, etc., a choice which funnels more focus to the plot and the music. It gives the cast the entire theatrical space to work in for their various ensemble numbers which are suitably bombastic and are often the highlights of the show. Unfortunately, this backfires in the smaller scale scenes which at times feel they have been given less attention than the larger ones. At certain moments, songs are performed amongst a static group of characters giving the audience plenty of time to take in the bareness of their surroundings – a problem largely confined to the first act but which sucks the energy out of an otherwise entertaining performance. The lighting design by Moses Brzeski-Rilley helps alleviate this issue. The lighting throughout the show generally remains subtle but becomes noticeably effective in the right moments. The show is instrumentally accomplished with a strong mix of brass, piano, and percussive accompaniment, featuring many of the same leitmotifs that wind their way through the show’s songs. Sadly there were times the band struggled to keep up with the brisk pace set by the cast leading to some discordant moments and occasional flat notes.

While there has been a clear attempt to emphasise the musical aspects of the show it is unfortunate that at times the direction does not match the energetic pace of the instrumentation or vocalisation. However, a lengthy first act gives way to a breezy second act which generally resolves most of its own issues and wraps up the plot with a bittersweet ending/beginning.