"Not so much stripped-down as emaciated. All of the contrasts of idealism and greed, gloss and substance so central to the story’s effectiveness are flattened under the pressure of forcing it to stand without enough legs...The songs, with all their polish removed, no longer reflect the coherent Broadway world of the story...Often radically reconceived, harshly truncated or left to dribble away, they no longer ennoble the characters or provide much pleasure for the audience."
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“Fiasco’s earnest love for the material is evident...And the cumulative effect is…pretty good. Despite an abundance of appealing parts, this 'Merrily' doesn’t quite come together into a real gut-punch of a whole. There’s much that’s nice some that’s very funny, and a bit that’s beautiful, yet the show’s emotional power feels blunted and its aesthetic suspended somewhere between minimalist and maximalist. There’s no shortage of spirit on offer, but visceral oomph is elusive.”
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“This cast brims with nerve, energy and overreach...Though in this production...Brody has a keen eye for revelatory details that perk up scenes and deepen characters...Both Narayan and Steinfeld have the strongest voices in the cast and deliver on their numbers big time...Vocally, the rest of the cast just isn’t up to the task. And while some details of the script are enhanced in the staging and the playing, others are diminished.”
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“The latest effort to crack the ‘Merrily’ code...Only half-works...Fiasco looked at the 1930s source play, four versions of the Merrily scripts and archival material provided by Sondheim himself...The result is very smooth and the reverse narration works very well...Unfortunately, the performances are not always up to snuff...By the end, which is the beginning, this neat, tidy ‘Merrily’ feels merely like a stopgap production as we await the inevitable next staging of this gloriously messy show.”
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“A satisfying scaled-down revival...It may not be the definitive ‘Merrily’, and anyone familiar with the show will probably miss its dynamic original orchestrations and smashing overture...Vocally underpowered and underpopulated. But on the whole...theatrically effective, smart and emotionally wrenching...Most critical to its success, the production brings to the forefront the three-way friendship of Frank, Mary and Charley and conveys the overwhelming insecurity of every character.”
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"Under the seamless direction of Noah Brody, it's largely a success...Sondheim’s score, thanks to a terrific eight-piece band, sounds beautiful as ever with lyrics that paint the most detailed portraits in a single verse. If the performers don’t all have the most trained voices, they are first-rate actors who deliver each song with great clarity and naturalism. Some problems remain; the dialogue can sound stilted...But so strong is this company, we hardly notice the book’s flaws now."
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“Fiasco Theater's new production is ‘Merrily We Roll Along’ as Frankenstein's Monster...The problems lie with the cast, who don't have the pipes to successfully articulate Sondheim's beautiful melodies, or the acting texture to grab at the emotions...This ‘Merrily’ prioritizes acting over singing, and it comes at the expense of the score. But even still, not all of the performances are up to the task of sustaining the emotional tension needed."
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“This vest-pocket production by Fiasco Theater does get some things right...Still, there's little getting around the fact that ‘Merrily We Roll Along’ is overwrought to the point of soap opera...This production is largely inhabited by actors with no real musical theatre skills...They seem to have few ideas about phrasing, breath control, or how to shape a number...Under Brody's broad play-to-the-rafters direction, the cast often seems lumbered by the shortcomings of Furth's writing.”
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