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The delivery was as different as the influences. Some numbers involving sharp, ensemble choreography and others a much simpler style, each suited to the individual number. The songs are performed by a cast of 5. Each of them had very different styles. Maisey Baweden had a really soulful voice and Christina Modestou had brilliant story telling skills. The set itself was simple with projections depicting the photograph that inspired that particular number and the back of the stage with empty frames, ready to be filled with these photographs.
This worked well in the studio space and allowed the focus to be on the number. It was an interesting show and concept with some individual story telling highlights but at other times disjointed or uninspiring numbers. Thanks to the endeavours of an exciting new producer, the quietly unassuming Craig Nom Chong, we have a dream team to present this work.
Sam Waddington is here to light it all with his trademark skill, and Huw Williams expertly manages the sound. And what sound! But it is to this Class A cast that the production properly belongs. Maisey Bawden is here again, taking another confident step forward in her splendid career, her voice growing magisterially as the event progresses, encompassing the not inconsiderable demands of the music with ease and relish.
It is also high time that we welcomed back the darling personality of Christina Modestou, who is on even finer form than when I last saw her in Rent at this theatreand on tour. The comparison is instructive, because this, too, is a kind of song-cycle, and the artistry needed to convey stories where there are only songs to tell them does require a particular set of skills; luckily this cast are perfectly schooled in them.
The male roles boast the nicely contrasting presences of three more experts. Newcomer Gregor Duncan, fresh out of Mountview, is full of youthful and rather innocent vitality. The now bearded and slightly more worldly Samuel Thomas is also here, his authority belies the fact that he graduated from the same school but one year ago.
The balance achieved by this terrific ensemble is remarkable, not least in their exquisite a capella moments. There are sixteen numbers here, hinged to sixteen different images from Mr Murphy. The score does not just reflects them, however, but much more ingeniously it also reflects the conventional tropes and gestures of musical theatre.
But already within this movement, we notice the rhythmical inventiveness of the composer, switching pulses around, alternating boldly contrasting sections with each other in a way that makes us associate him with writers like Sondheim and Bernstein. In tandem with this, the musical contours emanating from the band also change, evolve, embracing different voicings, timbres, colours, in a way that announces we are going to get a whole lot more than just illustration.
The journey we are on is a musical one.
A stunning new multimedia musical which explores a groundbreaking new concept in musical theatre This intricately woven collection of stories told through. 35MM, a multimedia "musical exhibition" in which photographic images, by Oliver in collaboration with photographer Matthew Murphy inspire music and lyrics. 35MM eventually made its off-Broadway world premiere at the Galapagos Art Space in New York City on March 7, Due to popular demand, the show was extended.