There could be no more appropriate venue
for the West End transfer of Maria Friedman’s acclaimed Sondheim
revival.
Merrily We Roll Along
and Harold Pinter’s
Betrayal
are probably the two most renowned theatrical works to use reverse
chronology. Where Pinter lays bare the emotional history (backwards) of
an extramarital affair, Sondheim and his scriptwriter George Furth span
two decades of the professional rise and personal fall of Franklin
Shepard, who begins as a sanguine young composer of adventurous songs
and ends – where we first see him – as a successful Hollywood producer,
one and a half marriages and two intimate, broken friendships down the
line.
Reverse chronology is the heaviest possible form of dramatic irony: we
know the agonising truth about what is going to happen because we’ve
already seen it. It can make for almost unbearably poignant endings:
all those hopes and dreams just lining up to be, inevitably, dashed.
However, despite the relative simplicity of Sondheim and Furth’s vision
of the truth of youth, I don’t think it’s true to say that they are
peddling a cliché. Rather, having seen the characters’ future in the
show’s immediate past, we cannot help but be aware of the naïveté of
their young values from the beginning. It becomes a story not of ideals
crushed, but of illusions dissed.
Maria Friedman has consummate experience as a Sondheim performer, and
she brings it to bear in her directorial début. It transfers well from
the Menier Chocolate Factory to the proscenium-arch space of the Harold
Pinter, and Friedman keeps her company whizzing along in and out of
each other. As Franklin, Mark Umbers almost conquers the character’s
first-impression unlikeability with a gradually deepening vein of
diffidence. Damian Humbley as his long-time collaborator Charley excels
in a number eviscerating their partnership during a live TV interview;
it made me imagine Wallace Shawn in a musical. Jenna Russell makes the
most affecting backward journey, from drunken, frustrated has-been to
the first glimmerings of unrequited love, as faint as the
newly-launched Sputnik which the trio watch in the night sky. The
truisms about Sondheim are that he is both an acquired taste and the
object of a fervent cult of devotees; Friedman’s production is likely
to lead many through the first phase, and quite a few into the second.
Written for the Financial
Times.