(Cover Photo: The CAST of the musical "MERRILY WE ROLL ALONG" by George Furth and Stephen Sondheim, presented by Sullivan Rep in Dedham, MA. until June 27, 2026. Photo Credit: Kenly Murray)

By Kevin T. Baldwin

METRMAG Reviewer

# 774-242-6724 

"That’s what everyone does: blames the way it is on the way it was, on the way it never ever was."  

                                        -  ("Mary") / George Furth and Stephen Sondheim

Sullivan Rep

Presents the Stephen Sondheim Musical 

"MERRILY WE ROLL ALONG"

Book by George Furth

Music & Lyrics by Stephen Sondheim

Directed and Choreographed by Daniel Forest Sullivan

Music Director Jenny Tsai

Cast Includes: Sean Donnelly as “Franklin Shepard,” Carly Evans* as “Mary Flynn,” Daniel Forest Sullivan as “Charley Kringas,” Katie Clark as “Gussie Carnegie,” Justin Boudreau as “Joe Josephson,” Meghan Rose as “Beth Spencer,” Vinny Saracino as “Frank, Jr.”  

Ensemble: Aeon Smith (“Meg”), Kevin Hanley* (“Bunker,” u/s “Franklin”), Kristen Sehn (“Dory,” u/s “Gussie”), Evan Hill (“Tyler”), Marcia Irwin* (“KT”), Michael Herschberg (“Mr. Spencer,” u/s “Joe”), Melissa Paz* (“Mimi,” u/s “Beth”), Anthony Rinaldi* (“Jerome”), Katie Howe (“Scottie”), David J. Kim (“Terrie”), Briar-Robin Pollock (“Ru,” u/s “Charley”), Essie Canty Bertain (“Mrs. Spencer”), Scott Berozi (“News Anchor,” Onstage Swing), Amanda Atkinson (“News Anchor,” Onstage Swing, u/s “Mary”).  

Additional Creative Team:

Stage Manager – Colleen Locke; Assistant Director – Ashley DiFranza; Assistant Stage Manager – Ronnie Ross; Set and Lighting Design – Ryan DuBray; Costume Design – Dan Sullivan; Hair and Makeup Design – Bridget Sullivan; Properties Design – Rick Grenier; Intimacy Direction – Kate Dugas; Technical Direction – John Sullivan; Company Management – Julianna Tusler; Dramaturgy – Camille Cuzzupoli; Wardrobe – Jeanmarie LaPointe; Season Intern – Kenly Murray.

* Indicates Sullivan Rep 2026 Company Member

Performances:

June 12, 2026 through June 27, 2026

(Contact Box Office for Exact Times)

All Performances held at Motherbrook Arts & Community Center, 123 High Street, Dedham, MA. 02026

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(Warning: The following review contains spoilers)

As summer quickly approaches, Sullivan Rep offers up the exceptional Stephen Sondheim musical "MERRILY WE ROLL ALONG" now playing in Dedham. 

Once considered Sondheim’s most notorious “flop,” "MERRILY WE ROLL ALONG" has since become a multi-award-winning megahit. 

Directed and choreographed by Daniel Forest Sullivan, the entire Sullivan Rep cast, which doubles as stage crew, is completely invested in executing an intimate, immersive in-the-round production that unfolds in nearly seamless fashion. 

"MERRILY WE ROLL ALONG" was originally staged for Broadway by the iconic Hal Prince and is based on a 1934 play of the same name written by George S. Kaufman and Moss Hart. 

Debuting back in 1981, audiences that first witnessed "MERRILY..." UN-merrily walked out of the theatre, perplexed by the show which tells its cynical tale from the "present" then moves backward in time. 

Those audiences probably wouldn't have even made it through the opener of “The Last Five Years” (a musical which also flows unconventionally thus throwing the concept of “linear storytelling” out the window).    

"MERRILY WE ROLL ALONG" is a fascinating, daring show which still may not appeal to everyone but the same can be said for any musical that, like this show, attempts something different. 

The musical was much maligned for decades despite the George Furth story rivaling some of his best collaborations with Sondheim. 

"MERRILY..." was about how time and adversity kill both optimism and idealism - and how the eventual toll of climbing the ladder of success proves devastating to a trio of friends desperately trying to hold onto their own respective optimism and ideals. 

Since audiences at this time could not (or chose not to) embrace the unconventional storytelling approach, the Broadway production closed after only 16 disastrous performances. 

The story of the doomed production is recalled in the documentary, "Best Worst Thing That Ever Could Have Happened." 

Someone, possibly a theatre critic (those bastards), once remarked how audiences "can smell a stinker - a bomb - a flop." 

That person obviously was either uninformed...or a complete idiot. 

Those audiences that abandoned the original production of "MERRILY..." missed out on a fine story inventively told by collaborators Sondheim and book writer Furth. 

The duo also collaborated on the now-iconic musical “COMPANY” back in 1970. 

There are those who may notice a little bit of a “COMPANY” vibe to parts of the "MERRILY..." score - and whether that was intentional was a secret held between Furth and Sondheim. 

The musical would survive, find an audience, usually made up of steadfast Sondheim fans, becoming a beloved cult classic. 

It eventually caught fire thanks to a hugely popular revival which, in 2024, resulted in two Drama League Awards and four Tony Award wins, including the award for Best Revival of a Musical. 

The Sullivan Rep production, controlled by the expert direction of Sullivan, is augmented by the musical supervision of Jenny Tsai who also plays keyboard and conducts the tremendous Sullivan Rep orchestra. 

(Photo: The CAST of the musical "MERRILY WE ROLL ALONG" by George Furth and Stephen Sondheim, presented by Sullivan Rep in Dedham, MA. until June 27, 2026. Photo Credit: Kenly Murray)

Spanning a 20-year period, "MERRILY WE ROLL ALONG" traces the turbulent relationship of three friends in reverse chronological order. 

The story begins (uh..."ends"...?) in 1977, a period of disillusionment albeit highest success as we are introduced to wealthy songwriter and film producer Franklin Shepard (Sean Donnelly). 

Franklin seemingly has it all and is celebrating the premiere of his latest project at a hot Hollywood party. 

Franklin's old friend, Mary Flynn (Carly Evans), attends the party, bombed and bitter, presumably from years of disillusionment and disappointment. 

That's when somebody at the party "name drops" a Pulitzer-winning play written by their former mutual friend and writing partner, Charley Kringas (Daniel Forest Sullivan). 

Charley was Franklin's best friend and lyricist until the duo had a very public falling out. 

Mary earnestly attempts to remind Franklin of the dreams they once shared but to no avail - Franklin has become far too self-absorbed for any of that to matter. 

Franklin's second wife, Gussie (Katie Clark), adds to the increasing bitterness Mary feels. 

Clark is quite good as Gussie, who soon becomes a recurring central figure, pivoting in time from a successful woman falling from grace back to when she was an actress just coming into her own. 

More on that in a moment. 

As the musical advances (or regresses?), we hear some familiar Sondheim tunes such as "Old Friends" sung by Donnelly, Sullivan and Evans; "Not a Day Goes By," earnestly sung by Meghan Rose as Franklins' first wife, Beth; and the title song, "MERRILY WE ROLL ALONG" shared by the entire Sullivan Rep ensemble. 

As central figure Franklin (or Frank), Donnelly is riveting in the role told in reverse evolution. 

So intensely focused is Donnelly as Franklin, we see him first having an almost explosive temper and boorish, fatalistic personality, completely self-absorbed and abrasive from the show’s starting point. 

Conversely, as the story modulates to his earlier days, we see Franklin more optimistic, enthusiastic…also far more tender and generous. 

Whereas in just a few years Franklin emerges more self-confident, the story concludes in 1957 as we find an unassured, "less worldly" Franklin and Charley when they first meet Mary. 

The trio, perhaps being more naïve than worldly wise, immediately bond and ultimately become sensitive, vulnerable and compassionate "old friends" - until the ravages of time and circumstance ultimately take their toll. 

Franklin's more sensitive side is conveyed well in the tender musing, "Growing Up." 

Sullivan gives a stunning performance as Charley, especially in more manic moments, such as the intricately funny, pure Sondheim song, "Franklin Shepard, Inc." then later we witness Charley more subdued, supported by Franklin on piano during the wistful “Shepard-Kringas” melody "Good Thing Going."  

Evans gives a fine performance as Mary, who functions mostly as a resilient support system for her two friends, all the while sacrificing much of her own happiness. 

As we first see Mary, though, we see this same woman whose resilience is defeated as she seems at her lowest ebb. 

Given the focus on the trio, it is unfortunate that the character of Mary is not explored in more detail. 

Mary’s backstory, like that of Charley, probably needed to be reduced for the sake of time, and yet there are little “seedlings” of info planted along the way in the Mary subplot that never fully mature. 

As if the story structure wasn't complex enough, Mary, while part of the above trio, actually serves to form a second trio as part of the women who dominate Franklin's life, joining with Beth and Gussie. 

In the role of Beth, Rose gives a moving performance as Franklin’s young wife who loves the man she thought she married but who cannot hold onto something that isn't there. 

As Gussie, Clark introduces us to a star who becomes enraptured with a man who serves her needs, not only as a lover but as a means to an end - even to the point of sacrificing her preceding marriage to Broadway producer Joe Josephson (Justin Boudreau). 

Boudreau is quite entertaining as avaricious producer Joe who will sacrifice anything – even his wife – for the sweet smell of success. 

As "time" proves, neither Mary nor Gussie appears able to fill the void in Franklin's life by being that which Mary once was and would like to be again...a loving friend. 

Since the opening scene ends as it does, it almost feels as if an epilogue (uh..."prologue"...?) is required to tie up the myriad of subplots where the story ends (uh..."begins"...?)...oh, heck, two hours and 40 minutes later. 

As if concluding a story by ending at the beginning isn't "unique enough," there is "Our Time" - the unusual concluding song to this "Sondheim musical." 

"Our Time" doesn't sound like a “traditional” Sondheim song - it actually sounds more like a Stephen Schwartz song (Go ahead. Listen to it. We'll wait). 

Again, if that was intentional, as if Sondheim wanted that “Schwartz-esque” lighter, more optimistic melody to conclude the show to serve in hopeful contrast to all the regret that came before, it may be another secret shared by a select few…or two. 

This suggests one final logistical question: 

Acknowledging the 20-year timespan, this would still leave these characters only in their mid to late-40s by 1977. 

So, where this story begins (ends) may not necessarily be the actual end of the trio’s story. 

It may not be a waltz, but do I hear a sequel? 

With both authors now deceased, it is unlikely, but one can always…hope. 

Performed in-the-round, the Sullivan Rep circular set design for "MERRILY WE ROLL ALONG" is minimalist, allowing for ease of set changes by the cast. 

One scene supposedly set in the year 1962 is far more reminiscent of the later “Mod” sixties era (think Fosse’s “Rich Man’s Frug” from “Sweet Charity”) than the earlier JFK-era, but this is a minor quibble. 

Specialized lighting and sound cues are mostly executed with precision, although there were a couple of microphone issues and other modest technical glitches during the June 14^th performance. 

While there aren’t any real full-on “dance numbers” involved in "MERRILY..." Sullivan’s expertise at combined staging and choreography is evident, allowing for extremely fluid transitions, and using the immersive setting to provide an intimate and emotional impact. 

While there were one or two wardrobe malfunctions at the June 14^th performance, the entire Sullivan Rep ensemble deserves high praise indeed for performing under the sheer volume of quick wig and costume changes combined with endless set redress required for the epic musical "time travel" story involved here. 

"MERRILY WE ROLL ALONG" continues from Sullivan Rep in Dedham, MA. until June 27^th, 2026 and is a production well worth your time. 

Approximately two hours, 40 minutes with one intermission.   

Kevin T. Baldwin is a member of the American Theatre Critics Association (ATCA) 

@MetrmagReviews  

@Theatre_Critics 

ABOUT THE SHOW

Spanning three decades in the entertainment business, "MERRILY WE ROLL ALONG" charts the turbulent relationship between composer Franklin Shepard and his two lifelong friends — writer Mary and lyricist & playwright Charley.   

An inventive, cult-classic ahead of its time, "MERRILY WE ROLL ALONG" features an innovative book by George Furth and some of Stephen Sondheim’s most celebrated and personal songs.   

The original 1982 Broadway production was nominated for a Tony Award and won a Drama Desk Award for Outstanding Lyrics. 

The musical also won three Laurence Olivier Awards for the 2001 London production. 

For more information on possible content warnings, or how we might support you in your visit to SULLIVAN REP, please reach out to our Director of Community at community@sullivanrep.com.

ABOUT SULLIVAN REP 

SULLIVAN REP aims to create a theatrical home to further support Boston-based theater artists. By adopting a repertory model where performers are contracted for multiple shows within the same season, SULLIVAN REP hopes to foster a deeper sense of community and familiarity between performers and audiences alike. This consistency also allows SULLIVAN REP to provide a space which supports artists who have pursued alternate career paths, limiting their ability to commit to productions with larger demands on their time.

SULLIVAN REP 

# 774-270-6102

sullivanrep23@gmail.com