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After witnessing the Harvard-Radcliffe Dramatic Club’s production of “Merrily We Roll Along,” audiences never would have guessed that this show by Stephen Sondheim and George Furth infamously flopped when it debuted in 1981. The production’s thoughtful staging, lively choreography, and remarkable performances made for an unforgettable experience which reminded college-aged audiences in particular to pursue joy.

The story, told in reverse chronological order, follows three best friends trying to succeed in the arts — Franklin Shepard (Kaylor G. Toronto ’27), a talented composer-turned-sellout producer, Charley Kringas (Bernardo de Moura Sequeira ’26), a passionate songwriter, and Mary Flynn (Grace G. Hawkins ’28), an author who’s lost her drive. The three leading actors’ chemistry stood out, making for an incredibly heart-wrenching story as audiences followed the trio’s turbulent friendship back to its hopeful beginnings in college.

The entire production, directed by Ben L. C. Arthurs ’27, came together in just five weeks — a feat by any means, but even more spectacular given the show’s quality. Each of the 20 cast members’ performances was bursting with talent. Additionally, the fact that college students performed this material about youthful aspirations giving way to bitter sacrifice enhanced its meaning in certain ways, nailing the message that an evident passion for the arts will not always last forever and that success can come at a devastating and irreversible cost.

At the outset, audiences were met with realistic set, lighting, and costume design, visually transporting them into the vibrant lives of the characters despite the distance between their seats and the Loeb Proscenium stage. A piano stood center stage, acting as a character in its own right. As Franklin’s character grew younger in each scene, he inched closer to his prized instrument and it transitioned from merely a fancy apartment centerpiece to a beacon of his talent. In fact, Toronto actually played this piano while singing in “Good Thing Going,” displaying the actor’s talent beyond that of his character alone.

The rest of the two-story set, designed by Ida Chen ’27, featured ’70s-style wall art and wooden paneling in Franklin’s apartment, completed by twinkling stars to frame the final number. The characters’ era-appropriate baggy crewnecks, sweater vests, and pencil skirts, carefully chosen by costume designer Giselle N. Paulson ’27, bolstered the colorful retro set.

Choreographers Alia S. Marrero-AlAttar ’27 and Crystal X. Manyloun ’26 did not let this expansive space go to waste, as the show made a strong entrance with a classic Broadway dancing number and never let up with the coordinated and captivating ensemble dances that followed. The push-and-pull choreography in “Old Friends” highlighted the subtle tensions in Franklin, Charley, and Mary’s doomed friendship, and the dancing in “The Blob - Part I” made the large coagulation of actors seem remarkably organized.

Along with the dance numbers, the musical’s songs were extremely complex. De Moura Sequeira’s performance of “Franklin Shepard, Inc.” felt reminiscent of the orchestral piece “Flight of the Bumblebee” in its speed and technical prowess. After this angry (but very catchy) outburst of a song ended, the audience let out a collective sigh of relief and gave an even bigger round of applause.

Moments of joy, betrayal, love, frustration, and hope punctuated the emotional production. Audiences could see what each character felt even when they did not have lines, since the emotions of each moment were written on their faces perfectly. Hawkins’ Mary, who played the role of the peacemaker throughout the story, carried the pain of her fraught friendships with her in every second she spent onstage. Meanwhile, Beth’s (Carolyn Y. Hao ’26) stellar vocal performance in “Not a Day Goes By” — her ballad after her divorce proceedings with Franklin — made for the most emotionally raw scene. This striking song left chills throughout the theater, showcasing Hao’s immense vocal talent and emotional range.

While the professional-caliber production dazzled, the theme of the dangers of overambitious greed ran clearly throughout. This paralleled the Harvard experience: while students are encouraged to explore their passions, there is an undercurrent of a relentless desire to succeed in each job and club application students complete. That connection made the show especially profound, and it was showcased best by Franklin during his moment alone after the first successful run of his and Charley’s Broadway show. After the pair recorded the audience’s applause on a tape recorder, Franklin listened to it play back. As the high of success quietly flashed across his face, Toronto’s expert acting illustrated the scene’s nuance. The spotlight thoughtfully shone on Franklin for a few seconds before going dark, leaving audiences to ponder when was the moment that he lost his way — and to ponder if they themselves were still following their dreams.

“It's our time, breathe it in: / Worlds to change and worlds to win,” sang the leading trio in the final number, “Our Time.” The actors embodied their true college-aged selves for the first time in the production, eyes glistening with hope for the future. “Merrily We Roll Along” stunned from beginning to end with its thoughtful production and performances, moreover, it reminded students that now is the time to follow their dreams and make a meaningful mark on the world.

“Merrily We Roll Along” ran at the Loeb Drama Center from Oct. 22 to 25.