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Director Notes
Welcome. You’ve stepped into a space designed for intimacy, for confrontation, for the unadorned truth. That’s the power of the black box – there’s nowhere to hide, not for the characters and not for the audience. Perhaps no musical requires such raw honesty quite like Stephen Sondheim and George Furth’s Merrily We Roll Along. This show is famously, brilliantly, heartbreakingly told in reverse. We meet Franklin, Charley, and Mary at their most fractured – successful by society’s standards, perhaps, but spiritually bankrupt, their friendships and ideals seemingly shattered beyond repair. From that wreckage, we travel backward. Back through the compromises, the betrayals, the successes that felt like failures, and the subtle moments where their course in life shifted. Year by year, layer by layer, our journey back leads us to a rooftop where our “Old Friends” are filled with youth, talent, and a powerful belief in each other convinced “Our Time” is arriving. For us, knowing their full story, watching this moment brings a unique and poignant heartache.
Seeing the hopeful start after witnessing the bitter end forces us to ask the questions. How did you get to be here? What was the moment? Staging Merrily in this stripped-down environment magnifies these questions. Without the lavish sets sometimes associated with musicals, we are forced to focus on the essential intricate tapestry of Sondheim’s score, the sharp wit and vulnerability of Furth’s book, and, most importantly, the complex, evolving, and devolving relationships between these three souls. You’ll feel the sting of Charley’s disillusionment, the weight of Mary’s unrequited feelings, the seductive, destructive charm of Frank’s ambition. Merrily We Roll Along is a cautionary tale, yes, but I believe there’s still a stubborn glimmer of hope in the story.
By journeying back to the beginning, by seeing the purity of that initial dream, we’re reminded of the potential that resides in all of us – the potential for connection, for creation, for loyalty. Perhaps understanding how things unravel can teach us how to hold them together.
Thank you to this incredible cast, crew, and creative team who have poured their hearts into excavating the layers of this challenging, beautiful piece. Thank you, Stephen Sondheim and George Furth, for giving us this puzzle box of a musical.
And thank you for joining us. Lean in. Listen closely. Let the journey backward illuminate something about the way forward.
Enjoy the show.
Jacob Brent
Special Thanks
President Connie Book, Provost Rebecca Kohn, Dean Hilton Kelly, Babs Bayliff, Derek Tucker, Brian Kremer, Alexandra Warren, Jim Walton
Cast
Frank Shepard | Gabriel Bommarito |
Mary Flynn | Mia McManamy |
Charley Kringas | Jonah Uffelman |
Gussie Carnegie | Lauren Trethaway |
Beth Spencer | Addy Reese |
Joe Josephson | Kai Gaeta |
Evelyn, Ensemble, u/s Mrs. Spencer/Scotty | Carrington Black |
Meg, Ensemble, Dance Captain, u/s Beth | Ella Davison |
Tyler, Ensemble, u/s Charley | Andrew France |
Dory, Newswoman, Ensemble, u/s Mary | Anya Jones |
KT, Ensemble, u/s Gussie | Tinkie Jones |
Terry, Mr. Spencer, Ensemble, u/s Joe | Alex McLemore |
Scotty, Mrs. Spencer, Ensemble | Helena Padial |
Newsman, Ensemble, u/s Frank | Campy Rodriguez |
Jerome, Lawyer, Ensemble | Elliot Sullivan |
Ru, Photographer, Minister, Ensemble | George Zemla |
Frank Jr. | Bays Bruton |
Frank Jr. | Hampton Bruton |
Swing (Meg, KT, Ensemble) | Michayla Catron |
Swing (Evelyn, Dory, Ensemble) | Madelynn Forcier |
Swing (Jerome, Terry, Ensemble) | Trevor Hudson |
Swing (Tyler, Ru, Photographer, Minister, Newsman) | Laird Stearns |
Creative Team
Director | Jacob Brent |
Assistant Director | Emily Moxon |
Choreographer | Eric Pettit |
Music Director | Chris Rayis |
Assistant Music Director | Charles “Charlie” Castro |
Intimacy Choreographer | Kim Shively |
Scenic & Props Coordinator; Projection Designer | Eliza Gregory |
Scenic & Props Advisor | Justin A. Miller |
Costume Designer | Jacob Brent |
Audio Supervisor & Engineer | Casey Spielman |
Sound Advisor | Michael Smith |
Lighting Designer | Hailey Avari |
Assistant Lighting Designer | Eddie Fermanian |
Lighting Advisor | R. Mitchell Fore |
Stage Manager | Lindsey Chambers |
Assistant Stage Manager | Julia Sgoupis |
Production Team
Production Manager | Suzanne Lucas |
Technical Director | Luis Silva |
Asst. Technical Director | Anthony Cacchione |
Costume Shop Manager | Heidi Jo Schiemer |
Assistant Costume Shop Manager | Brianna Boucher |
Light Board Operator | Kyle Brady |
Sound Board Operator | Keller Gilliland |
Deck Crew | Kate Ragan Jordyn Sutton |
Wardrobe Crew | Aubrey Kocsis Victoria Martinez |
House Managers | Lillian Chen Ella Huestis Emily Moxon |
Poster Design | Sydney Dye |
Musical Numbers
ACT ONE
Prologue
Overture…Orchestra
Merrily We Roll Along…Company
Bel Air, 1976
That Frank…Frank, Company
NBC Studios, 1973
Like It Was…Mary, Charley
Franklin Shepard, Inc…Charley
Central Park West, 1968
Old Friends…Frank, Mary, Charley
Growing Up…Frank, Gussie
Manhattan Courthouse, 1967
Not A Day Goes By…Beth
Now You Know…Mary, Charley, Frank, Company
ACT TWO
Alvin Theatre, NYC, 1964
Entr’acte…Orchestra
Opening Number…Gussie, Company
It’s A Hit…Joe, Frank, Charley, Mary, Beth
Gussie & Joe’s Brownstone, 1962
The Blob (Part One)…Gussie, Company
Growing Up (Reprise)…Gussie
Good Thing Going…Charley, Frank
The Blob (Part Two)…Company
Downtown Club, NYC, 1960
Bobbie and Jackie and Jack…Frank, Charley, Beth
Not A Day Goes By (Reprise)…Frank, Beth, Mary
New York City, 1957-1959
Opening Doors…Frank, Charley, Mary, Beth, Joe
NYC Rooftop, 1957
Our Time…Frank, Charley, Mary, Company
Orchestra
Conductor: Charles “Charlie” Castro
Keys 1: Chris Rayis
Keys 2: JT Loveless
Bass: Niyah Borgman
Drums: Van Prigozen
Company





