Merrily We Roll Along

Merrily We Roll Along, the final ‘big' production for WAAPA for 2020, was performed by WAAPA 3rd Year Musical Theatre Students and Music Students, and was designed, built and crewed by students studying Production and Design.

Still performing to a very restricted, non-public audience and with a very limited season - this show still had the feel, production values and panache that we expect from departing performers in their final production. 

This cohort, last seen by audiences in the 1970s audition garb of A Chorus Line, are first seen yet again in 1970s costuming, - this time in party gear beautifully designed by Matthew Raven. Raven charts a visible costuming journey as we travel back in time over the course of the show. Set designer Elyse McAuliffe gives us a geometric single set, that serves us well over multiple locales - the dominating feature being a large clock that reminds the audience that this show’s action moves back, rather than forward in time. Kristie Smith makes strong lighting design choices that give us a sense of place.

Musical Director David King leads a small (3 piece) musical ensemble - and the production sounds great - with excellent vocals throughout and solid sound design by Isla Dunne.

Like its sister production Spring Awakening - performed over a similar season, Merrily We Roll Along features a leading trio, and again we have an amazing partnership. Liam Wigney was a relatable and interesting Franklin Shepard - and we wanted to know his story. Douglas Rintoul’s loveable Charley Kringas was a lovely contrast - very well performed, while Hannah Royle gave us a gorgeous Mary King, a beautifully flawed but dynamic character whom we quickly came to love.

The character of Beth has one of the most interesting trajectories in Merrily We Roll Along, as she ‘begins’ as the “enemy” and not terribly likeable, but we gradually see a lovely and very sympathetic character - and Charlotte McInnes charted an excellent journey. Giorgia Kennedy was a glamorous and convincing Gussie, with great energy. Frank Jr was played by Emily Wood, almost convincing us that she is a pre-teen.

So many cameos and small roles in this, that it is impossible to mention everyone, but this ensemble were vital and vivacious throughout with wonderful style and precision. Visiting artist Meghan O’Shea created some stunning choreography and this is executed beautifully.

While this cohort have had less public exposure than their predecessors (and I feel very privileged to be one of the few to see them), they are a force to be reckoned with and should have a bright future in the industry.

Kimberley Shaw

Photographer: Stephen Heath