Merrily We Roll Along Sets a New Standard for Broadway Proshots

There’s usually two ways to film a stage show: you either go for a documentary feel or try to immerse the audience as if they’re sitting in the front row. But Maria Friedman’s latest version of Stephen Sondheim’s Merrily We Roll Along throws a spanner in the works, opting for a style so cinematic you’d be forgiven for forgetting you’re watching a stage at all.

Reverse Storytelling and Sondheim’s Unconventional Approach

For those not across the story, Merrily We Roll Along tracks a composer and his two closest mates as their friendship unravels over the years. The twist? The whole thing plays out backwards, starting at the end and winding its way to the beginning. This reverse storytelling has split audiences for decades—some reckon it’s a clever bit of theatre, others see it as a gimmick. Either way, it’s a bold move that’s kept the show in the spotlight since it first hit the stage more than forty years ago.

It’s no wonder the show’s had so many revivals, with plenty of them picking up awards along the way. And if you need more proof of its staying power, Richard Linklater is even working on a film adaptation using the same decades-long filming method he used for Boyhood.

Standout Performances and Direction

The cast in this version is a real drawcard. Jonathan Groff, who’s done the rounds in Hamilton, and Daniel Radcliffe, best known as the bloke from Harry Potter, both picked up Tony Awards for their efforts here. No surprises—they’re both top notch, showing off plenty of emotional depth and vocal chops.

But the real surprise packet is Lindsay Mendez. She only scored a nomination, not a win, but she brings a level of nuance and presence that arguably outshines her more famous co-stars. It’s hard not to reckon that her performance deserved just as much recognition.

Maria Friedman’s direction is what really sets this proshot apart. She’s managed to wrangle the show’s unusual structure and make it work on screen, which is no mean feat. Capturing the energy of a stage production—especially one that jumps around in time—is a tough gig, and even big names like Thomas Kail with Hamilton have struggled. But Friedman nails the transitions, keeping the story clear and engaging.

Cinematic Flair and Immersive Experience

What really makes this version stand out is how cinematic it feels. Friedman isn’t just pointing a camera at the stage—she’s pulling the audience right into the heart of Sondheim’s world. There are heaps more close-ups and quick cuts than you’d usually see in a Broadway proshot, making it feel more like a proper film than just a recording of a live show.

It’s rare to see a stage-to-screen adaptation that feels this immersive, especially when it’s not helmed by the likes of Martin Scorsese or Spike Lee. Friedman’s approach gives the production a fresh energy, making it accessible for both die-hard fans and newcomers alike.

Who Will Enjoy This Cinematic Take?

If you’ve never been keen on Merrily We Roll Along, this version probably won’t change your mind. But for those who already love the show—or anyone curious about Sondheim’s work—Friedman’s take is well worth a look. It’s a cinematic experience that’s sure to draw in punters, whether you’re a seasoned theatre-goer or just after something a bit different at the local cinema.