Merrily We Roll Along: A Cinematic Leap for Broadway

There are generally two schools of thought when it comes to filming live concerts and stage musicals: either present them as documentaries, or aim for an immersive experience that places the viewer in the heart of the action. Maria Friedman’s recent adaptation of Stephen Sondheim’s much-discussed musical, however, charts a different course altogether. Her approach is so visually striking and filmic that one might easily forget they are watching a stage performance at all.

Reverse Storytelling and Enduring Appeal

For those unfamiliar, Sondheim’s work follows the lives of a composer and his two closest companions as their friendship unravels over several decades. What truly distinguishes this piece is its reverse chronology—a narrative device that has divided opinion, with some dismissing it as a mere trick, while others have hailed it as a daring feat of storytelling.

Over the years, the show has seen numerous revivals, many of which have garnered critical acclaim and awards. The enduring fascination with this musical is perhaps best illustrated by Richard Linklater’s ongoing film adaptation, which employs a decades-spanning filming technique reminiscent of his earlier project, Boyhood.

Performances That Command Attention

The principal attraction in this latest version is undoubtedly its cast. Jonathan Groff, known for his role in Hamilton, and Daniel Radcliffe, of Harry Potter fame, both deliver performances that have earned them Tony Awards. Their portrayals are layered, demonstrating both emotional depth and impressive vocal ability.

Yet, it is Lindsay Mendez who emerges as the true revelation. Although only nominated for her role, her performance arguably surpasses those of her more widely recognised co-stars. The relative lack of accolades for Mendez may well reflect a preference for the more familiar faces, but her nuanced interpretation and commanding presence are difficult to overlook.

Direction and Cinematic Technique

Friedman’s direction is particularly noteworthy for its deft handling of the musical’s unconventional structure. Adapting a stage production with such a unique narrative flow for the screen is no small task, and even highly regarded efforts—such as Thomas Kail’s take on Hamilton—have struggled in this regard. The transitions between time periods, moving backwards through the years, could easily have become a stumbling block, but Friedman navigates these shifts with confidence and clarity.

What sets this proshot apart from others is its commitment to a truly cinematic style. Rather than simply recording the stage, Friedman seeks to draw the audience into the world of Sondheim’s creation. The use of close-ups and brisk editing gives the production a dynamic quality more akin to a feature film than a traditional stage capture.

Who Will Enjoy This Production?

Those who have never warmed to Sondheim’s musical are unlikely to be swayed by this adaptation. However, for existing fans and newcomers alike, Friedman’s film offers a fresh, engaging perspective that is well worth experiencing on the big screen.