A promising theatrical song cycle inspired by unusual photographs. Summary
Rating
OK!
As you enter the Phoenix Arts Club for 35MM: A Musical Exhibition, you are blinded by red lights reminiscent of some sort of dark room where photographs develop. With music and lyrics written by Ryan Scott Oliver, the concept for the production was inspired by various styles of photography, particularly images taken by Matthew Murphy.
The harsh lighting (designed by Katie Twist) is as jarring as the opening number, ‘Stop Time’: a sudden crash of five voices (Jaina Brock-Patel, Elizabeth Walker, Aaron Aisoni, Joseph Riley, and David Joseph Healy) singing at once, that is both unsettling and immediately attention-grabbing.
The Phoenix Arts Club doesn’t allow much space for choreography, and given the small stage, a traditional set is also not an option. Instead, Murphy’s photographs are projected onto a screen behind the performers, with each song reflecting the image that inspired it. During ‘Twisted Teeth’, a song about a vampire love affair, old footage from Nosferatu is layered over a photograph, creating a fun effect. However, the visuals are occasionally difficult to see, as actors sometimes stand directly in front of the screen, which can’t be helped given the space.
The cast members don’t have character names, as each song functions like a snapshot of a different story. However, it is difficult to discern whether a common theme runs throughout. It could be childhood, love or loss, but it’s not clear. Nor is the overarching purpose of the show, which remains somewhat ambiguous. This lack of cohesion causes a feeling of disconnect, detracting from the audience’s ability to engage fully with the work.
There is no denying the cast are talented, and each thrives in their solos, but they sound unpolished as an ensemble. During one song where Aisoni is dressed up as a knight, the actors behind him are singing from black folders, unlike the rest of the performance, which is off-book. This choice feels odd, and while it could be simply down to a logistical or rehearsal issue, it is still quite noticeable. Aisoni has a superb voice and is certainly a rising performer to watch, yet unfortunately, there seemed to be issues with his microphone, and scratchy feedback could be heard. However, this issue might be resolved for subsequent performances.
Riley plays acoustic guitar for a few songs, joining the live band. He and Healy are impressive and bring a dynamic energy to the performance. Walker filled in for Katie Ramshaw, and sang a knockout song about an evil prom queen, ‘The Ballad of Sara Berry’. Yet for the majority of the show, she wasn’t on stage, which felt like a missed opportunity to showcase her talent. Brock-Patel is charming as ever, and the emotional impact of her ballads is powerfully conveyed both through her voice and expressive acting. However, the cast’s occasional overacting makes certain serious moments unintentionally comical, and comedic moments slightly awkward.
Unfortunately, this space isn’t quite right for the show; a song cycle suits a cabaret-style venue, but the layout doesn’t quite allow the photographs to have a full impact. The cast do, however, deliver strong performances, and with some catchy tunes and a unique concept, 35MM: A Musical Exhibition remains a promising show.
Written by Ryan Scott Oliver
Directed by Dean Johnson
Musical Direction by Ben Ward
Produced by Taylor Jay
Lighting Design by Katie Twist
Sound Design by James Norris
Video Design by Adam Nightingale
35MM: A Musical Exhibition has concluded its run at the Phoenix Arts Club.
