Stage/Theatre

What: Merrily We Roll Along

Where: Annex Theatre, 730 Bathurst St.
When: Now, until Sat., March 2
Highlight: Stellar vocal performances easefully weaving Sondheim’s tricky melodies
Rating: NNNN (out of 5)
Why you should go: Infectiously charming enthusiasm radiating from every second of this production.

IN A SHOW that was conceived by its original director Hall Prince as a “vehicle for young performers,” there was no better pick for Toronto’s rising Shifting Ground Collective coming off of its heartfelt and successful production of Ordinary Days last August.

Merrily We Roll Along, the 1981 musical by Sondheim, chronicles the story of three friends — Frank, Charley and Mary Flynn — and their shifting lives over 20 years … in reverse chronology. The musical opens in 1976 as the friends have settled into a world of adult disappointment and ends in 1957 as they band together in youthful optimism. There’s Hollywood, booze, a dash of adultery and many-a-show tune.

Performed in the wooden Annex theatre, it makes me wonder why more Toronto productions don’t take advantage of this beautiful space. With two grand staircases, about seven different exits out of which actors weave in and out and a beautiful semi-round playing space, there are millions of possibilities for blocking and showmanship. Joshua Kilimnik’s directorial debut is a triumph and absolutely takes advantage of the space. The pitch-perfect 12-piece orchestra is located right above the audience on a ledge, working perfectly in tandem with the action on stage (though sometimes the mic levelling leaves some moments lost on audience ears). Every moment on stage is thought out, calculated and infused with glittery performance energy, exemplified perfectly in the transitions of the piece.

The transitions through time with Sondheim’s haunting melodies are executed perfectly by the ensemble as they dance across the stage and move set pieces with ease; they’re coupled with a haze and ghostly lighting by Jadyn Buchanan that really makes these moments feel like time travel. The whole piece transitions from a colder lighting look into yellows flooding the stage with youthful optimism by the finale. Much like the lighting undergoes a timely transition throughout the show, costumes by Pasha Bardell follow suit and colourfully match each year that scenes take place. Collete Richarson’s performance as Mary Flynn also distinctly transitions through the show, going from the drunken, sordid mess of an adult mourning the loss of her friendship to a young girl filled with enthusiasm.

The young and talented actors weave Sondheim’s tricky melodic lines with ease. Vocal performances from the cast across the board are phenomenal, with both ensemble and soloists projecting passion and consistency. Jameson Mosher’s Charley is particularly jaw-dropping in Franklin Shepard, Inc., in his rousing and hilarious televised meltdown. Not to mention Azaria Shams’ glamorous and sleazy Gussie Carnegie. The ensemble is as impressive as it is eye-catching, especially Dance Captain Mona Hillis’s grace and Jada Rifkin’s charming stage presence.

While vocals and good old-fashioned performance pizzaz propel this production forward, some of the bigger dance numbers could use a bit more polishing with dancers not always being quite on the same beat. The choreography by Shannon Murtagh shines in its more contained moments in the solo or small-group numbers, particularly, the three-hander Bobby and Jackie and Jack performed by Frank, Beth and Charley.

As I left the Annex Theatre, the energizing melody of It’s A Hit from the musical reverberated in my brain. To say Shifting Ground Collective’s production has a lot working for it is an understatement. It is filled with life and absolutely radiating energy in every second of its time on the stage. I look forward to seeing what this breakthrough company does next.