It is difficult to believe that it has been a year since the death of Stephen Sondheim, one of the most prolific American composer and lyricists in the history of musical theatre. New York has certainly paid tribute to this theatrical icon by continuing to produce revivals of several shows from his vast repertoire, including the present production of “Merrily We Roll Along” at New York Theater Workshop. This latest incarnation is probably the closest any creative team has come to finding the key to improving the musical, so the inferior book by George Furth (based on the original play by Kaufman and Hart), becomes more accessible and audience friendly. The major obstacle to overcome is the reversed trajectory of the plot, moving backwards from the present to the past. If an audience already knows the outcome, how do you convince them to care about how and why it happened, and furthermore, if you dislike characters when they are introduced, it is difficult to persuade the audience to like them as the story moves backwards.

Certainly, some of the difficulty may fall on the ability of the cast but here Director Maria Friedman has assembled a brilliant trio of actors to overcome the flaws, and that may be the reason for this show’s success, not mentioning the difficult score and clever lyrics by Mr. Sondheim. The show opened on Broadway in 1981, directed by Hal Prince, and was a complete failure, panned by critics and audiences, closing after 16 performances and fifty-two previews. This production brings the character Frank Shepard, (a tormented Jonathon Groff), front and center, casting a modest similarity to the construction of “Company,” which creates a better focal point for the audience. Doing this allows the audience to understand the digression better but also diminishes the friendship and comradery of the trio which is the crux of the story. Mary Flynn (a fractured Lyndsey Mendez), who is hopelessly in love with Frank is easy to follow as an alcoholic in the present to an aspiring journalist and novelist when the trio first meet. Charley Kringas (a sincere Daniel Radcliffe), although easy to follow, has the least number of demons to deal with, and not as much stage time.

Mr. Groff delivers a self-centered Frank, filled with greedy aspirations, which is easy to dislike. He works hard to conquer the challenge of working backwards to once being a likable character and good friend with admirable aspirations. As always, he provides incredible vocals, clear, pure, and emotional. Ms. Lyndsey gives a fine-tuned performance, filled with nuance, never missing the opportunity to reveal another facet of her complex character. Her vocals never disappoint, delivered to perfection. Mr. Radcliffe finds clarity in Charley, always honest and direct, creating a vulnerable and likable character. His rendition of “Franklin Shepard Inc.” is a showstopper, as he reaches his boiling point which provides a crucial transition in the storyline. Rounding out the supporting cast are Krystal Joy Brown inventing a manipulative Gussie, Reg Rogers portraying a downtrodden producer, Joe Josephson, and Katie Rose Clarke as she creates a convincing, betrayed wife Beth.

It serves no purpose to elaborate on the shortcomings of the book or the concept that would be impossible to change without rewriting the story. Ms. Friedman has deftly directed the cast to delineate their characters, providing a more convincing and interesting production and the actors deliver a clear, unmottled performance. It might still be a flawed musical, but it is certainly a first-rate production, and the best to be seen since its Broadway opening. The entire run has been sold out on the first day of ticket sales, but the production will move to Broadway for the 2023 season.