Like most people do, the three New York friends at the center of the musical “Merrily We Roll Along” get more cynical, jaded, greedy and stubborn with age. Or, as book writer George Furth succinctl…
Like most people do, the three New York friends at the center of the musical “Merrily We Roll Along” get more cynical, jaded, greedy and stubborn with age. Or, as book writer George Furth succinctly put it in the original production, “practical.”, which was a 16-performance flop when it began its life, has, against all odds, only improved as the years have rolled on. It’s better and more youthfully optimistic now than it ever was before.
Only four years ago, Fiasco Theater’s slimmed-down off-Broadway revival yet again exposed the show’s most glaring flaw: Furth’s hokey and unsubtle book. Sondheim’s lush and propulsive score, as is often the case, couldn’t overcome the gaudy retroness of the script, not to mention actors’ tendency to overplay scenes.
An especially recognizable guest wisecracking in the corner is Mendez as Frank’s best friend Mary Flynn, a former novelist who became a critic — and a drunk. The glue who holds the group together, she’s the only person willing to tell her famous pal to his face, in this sea of barnacles, that he’s turned into a jerk and a hack. Mendez, the No. 1 reason why this production works so well, makes the tricky Mary instantly heartbreaking and hilarious.
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