Directed by Dan J. Bryant

Review by Aislinn McSharry

Sanctuary at St. Augustines

EUSOG’s (Edinburgh University Savoy Opera Group) rendition of Stephan Sondheim’s Merrily We Roll Along is engaging, exquisite, heartfelt, and undeniably charismatic. An enthralling musical theatre experience at this year’s Fringe, it is to be cherished.  

Sondheim’s musical follows the central friendship between Franklin, Charley and Mary, and their artistic aspirations (as a composer, lyricist, and writer respectively), told in reverse order, starting in 1976, travelling back to 1957. Significant scenes in the deterioration of their relationship are highlighted: Charley’s shaming of Frank on live television, Frank’s affair with Gussie that ended his marriage with Beth, and multiple other instances of Frank’s rising, insatiable ambition, taking precedent over his relationships.  

Central performances were phenomenal: Levi Jones was the principled, earnest, and hard-working Charley Kringas, and his performance of ‘Franklin Shepard, Inc.’, was nothing short of immense. Spitting out words at rapid speed, absolutely seething, bitter and hurt, his vocal prowess shone – a common occurrence in this production. Elham Khosravipour’s Gussie Carnegie is a sultry, performative, and flouncy presence, yet brilliantly multifaceted in her portrayal. Her resigned apathy, imbued with fiery flairs, when Frank is cheating on her, and her splashes of vulnerability when choosing to leave Joe, clearly express her emotional journey; Her heart is always on the table, but veiled under a thick layer of glitz and glamour when necessary.  

Similarly, Lucy Walker’s Beth, first introduced at the divorce courts, successfully and poignantly morphs from a traumatised, betrayed and emotionally raw woman (powerfully singing ‘Not a Day Goes By‘)  to a naïve, young newlywed, hopeful for her new life ahead of her.  

Bella Burgess’s Mary Flynn is the beating heart of the production: she keeps Charley and Frank together, effervescent and charming, her voice strong and reliable. Her unrequited love for Frank, however, was difficult to deduce, and only became apparent in stated fact; this dynamic felt underexplored and was not helped by the creative choice of her back being to the audience for the majority of the sole musical expression of her feelings (‘Not A Day Goes By (Part II)‘). Similarly, whilst a powerful singer and skilled at expressing Frank’s more volatile emotions throughout (his anger at Charley after the interview, or his fears at not being able to see his son during the divorce), Max Middleton’s Frank was not easily discernible as a romantic figure and overall seemed passive to the romantic entanglements in his life.  

The charm, strength and precision of the Ensemble enticed the audience throughout, and together with inventive choreography by Amrit Gill, key moments, like the depiction of ‘The Blob’, made for an exciting watch. The ingenious creative decision to use suitcases as all relevant sets and props (like Frank’s piano), made for subtle set changes, and sleek passages of time. Ensemble standouts were Conor Ó Dochartaigh and Hannah-Rose Laverick as Beth’s deadpan, cynical parents, Tai Remus Elliot as the exasperated show host, and Alyssa Chua’s enthusiastic and dynamic performance throughout.  

With Director Dan J. Bryant at the helm, Merrily We Roll Along is a delectable merging of creative talent, and any musical-theatre-lovers’ dream at this year’s Fringe Festival.  

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