Daniel Radcliffe, Jonathan Groff and Lindsay Mendez breathe new life into Stephen Sondheim and George Furth’s “Merrily We Roll Along”
code, that is. While not exactly an enigma, Stephen Sondheim and George Furth’s show — with a story told in reverse chronology — has always been something of an underperforming head-scratcher: the 1981 Broadway original opened and closed in the blink of an eye.Well, scratch no more.
Sondheim’s compositions provide the commanding ligature for Furth’s nimble characters: this is one of those Sondheim listening occasions when you think, “No,one is his strongest score.” It is a thought that actually occurs on many evenings in a Sondheimiac’s life. But when you’re hearing his music so beautifully realized — Radcliffe keeps up impressively with musical-theater prodigies Mendez and Groff — you grasp even more deeply the melodic and lyrical sophistication at work.
It helps too, that the orchestrations by Jonathan Tunick sound so robust under the baton of Joel Fram. Cleverly, scenery and costume designer Soutra Gilmour — creating a more solid-looking version of last year’s off-Broadway production at New York Theatre Workshop — places the 13-member band in the penthouse of an all-purpose-domicile set.
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