’35MM: A Musical Exhibition’ // Passion Productions & Allentertainment
‘35MM: A Musical Exhibition’ was a snapshot.
Time stopped at PIP Theatre, where Passion Production and Allentertainment’s latest show, ‘35MM: A Musical Exhibition’ saw a picture tell a thousand words (or melodies). The stage became a canvas in this contemporary musical by merging visual and musical storytelling.
Inspired by photographs taken by world-renowned photographer, Matthew Murphy, ‘35MM: A Musical Exhibition’ brings sixteen images to life through a series of songs. With music and lyrics by Ryan Scott Oliver, each piece is a snapshot, telling a story behind a corresponding photograph. As such, the musical is presented like a multimedia exhibition, and the format makes it an innovative blend of concert, musical theatre and art gallery.
For audience members unaware of this unique concept, where the songs are standalone pieces rather than a single continuous narrative, it may be confusing at first to grasp what is happening in the plot. A little research into the concept of the play may assist in understanding the various thematics. Also, note that the connecting throughline is the camera that took the photos.
Designed by Renee Milton and Laurent Milton, the stage was symmetrically decorated, with a centre runway for performers to come down, and two white projector screens on either side of the stage. In front of both white panels, neatly sat the live band. On the walls of the theatre space, the sixteen source images were printed and hung in rows of images, connected with red string. Exposed film rolled on the projector as audiences entered the theatre. This stage design was minimalistic and was slightly tight-fitting in the small space. That being said, it was commendable and all that was required in a black-box-styled setting, considering the stories jump in time and place.
Director, Harrison Allen, skillfully moved the actors around the tight staging, creating side entrances and great silhouettes behind the projector screens. There was also a memorable moment with actors breaking the fourth wall to engage with the audience, like requesting patrons to vote in ‘The Ballad of Sara Berry’. During these songs, the corresponding photograph was projected on the split screens flanking the stage, however, there were instances where a photo was not projected, disrupting the fluidity and consistency of the production. While this may have been a technical issue, maintaining a consistent focus on the images throughout the piece would have better conveyed the style of the musical exhibition.
Lighting design by Tim James, did well to create some captivating visuals, as seen in the use of the silhouette behind the projection screens. The production also featured pyrotechnics, which, while impressive, was deployed in the second song and diminished its ‘wow’ factor early on. Given the intimacy of the space, the pyrotechnics also seemed somewhat out of place.
‘35MM: A Musical Exhibition’ also started quite abruptly, and it seemed that there were some sound-level issues present from the outset. Sound operation by William Toft and Sound Engineering by Steve Maples faced challenges in balancing the band’s volume with the performer’s microphones and in the small theatrical space. These sound issues seemed to persist throughout the evening, with some performer’s mics significantly softer than the band’s, making it difficult to distinguish lyrics. The sound levels were better mixed around ‘Leave Luanne’, but issues resurfaced during ‘Twisted Teeth’. Hopefully, this is just preview night jitters and will be rectified as the season continues.
It was, however, extremely, refreshing to have the presence of a live six-piece band in the space, with a variety of instruments that gave way to orchestral tones. While there is nothing wrong with using a backing track, the band definitely enriched the soundscape and allowed for a blend of acoustic and electric sounds – everything that this production needed to take audiences through the highs and lows of each picture. The band was led by Musical Director Sean Fagan (Piano/Conductor) and also included Amy Hosking (Violin/Viola), Lisa Crowie (Cello), Stephen Whittington (Bass Guitar), Benjamin Richards (Drums) and Daniel Robbins (Guitar).
The postdramatic style of the text and characters in ’35MM: A Musical Exhibition’ allows for flexible casting. That is, the actor playing Woman 1 for example showcases versatility by embodying characters like a Lover, Besty, Jessy, a Nightwalker and others. Casting and Vocal Director, Nykita O’Keefe has fully utilised this opportunity with a seven-member ensemble, expanding from the musical’s original five. This not only enriched the vocal sound, but also added extra intricacies through gender-flipping roles. It was exactly what could be done with the production. That being said, while the larger cast certainly provided more opportunities for harmony, there was an opportunity for Samantha Sherrin and Bethanie Walsh to have more solo opportunities, as the two largely featured only as chorus members. This would not only have highlighted their vocal talents but also strengthened the overall unity and fostered a more balanced ensemble.
As pointed out, characters in ‘35MM: A Musical Exhibition’ allowed actors to cover a range of characters, stories and themes, which often focused on human emotions and relationships. Some of the songs ventured into dark subject matter, like suicide and violence, and trigger warnings were placed on pamphlets of each seat before the performance.
Guiding the ensemble was the ever-impressive Aurelie Roque, who acted almost like the leader of the production. Roque has a powerful presence on stage, with vocal tones reminiscent of Lindsay Mendez. Roque’s rendition of ‘Leave Luanne’ gave full body chills and was a highlight of the evening.
Rae Rose, Mabelle Maynard, Connor Clarke, and Tomer Dimanstein capably filled various other characters, infusing their parts with distinct quirks. Props and costume changes aided these transitions between characters as well. There was room for further differentiation through more distinct gestural and physical movement, as this could help distinguish different characters from one another, like the lover from the nightwalker-vampire servant. That being said, there were some great moments enjoyed by the audience. Rose was an incredibly strong performer and set the tone early on with their smooth vocal ability in ‘On Monday’. Clarke also leant into the comedy side with ‘Caralee’, where we could imagine an annoying child through their actions, and ‘Twisted Teeth’, with his vampire-like robes.
As mentioned before, Bethanie Walsh and Samantha Sherrin filled the ensemble incredibly. Both actors had a strong sense of self, and really leaned into the characters they were allocated. Sherrin, in particular, had a great desperation as Luanne, and Walsh had a wonderful tenderness and gentleness to her overall performance that was incredibly compelling. Specifically, during the performance of ‘Cut You A Piece’ there was a profoundly moving moment when real tears streamed down Walsh’s face. It was a beautiful depiction of raw emotion. It would have been wonderful for both actors to receive more solos so they had further moments to shine.
It must also be said that when the cast played out transition scenes or performed together, it was utterly captivating to hear the fullness of their collective sound. Musical Director, Sean Fagan’s harmony work in these moments was quite mesmerising. Particularly, in ‘Mama, Let Me In’, the stillness and acapella nature of the song allowed the audience to hear the vocal power within the cast. It was spiritual and moving.
In the lens of ’35MM: A Musical Exhibition’, Passion Production and Allentertainment’s production materialised snapshots of life captured through Matthew Murphy’s photography. While some moments were sharp and in focus, others blurred the intended impact. Despite this, as the show continues to develop throughout its season, it does remind us that in theatre, as in photography, the right focus can bring a whole picture to life.
’35MM: A Musical Exhibition’ performs at Milton’s PIP Theatre until Saturday 4 May 2024. For tickets and booking information, visit PIP Theatre’s website.
