35MM: A Musical Exhibition | Phoenix Arts Club

They say, as the old cliche goes, that a picture paints a thousand words, but it equally can evoke music and song, a notion potently expressed by Ryan Scott Oliver in his musical 35MM: A Musical Exhibition, which takes a series of photographs by Matthew Murphy and for these creates a distinct, unique soundscape, with each telling a story through song. Throughout the course of this song cycle, we are taken on an intense emotional rollercoaster, with everything from warmth and happiness to chagrin and tragedy, and everything in between.

From the inclusion of the original photographs in the background, it is evident that writer Oliver has taken a lot of creative warranty and interpreted them in brilliantly imaginative ways. And the range of genres showcased varies almost as much as the actual content, such as the fun and quirky mod rock inspired art opening sequence, the calming acoustic guitar driven The Seraph, and the hard rocking Why Must We Tell Them Why?. Though they are as contrasting as can be in terms of their actual content, the constant throughout is this back-and-forth between the two different media.

Through the vision of director Dean Johnson, we experience a wide range of forms of expression in terms of how each image is brought to life, at times a simple case of vocals and guitar, allowing the music to speak for itself, others featuring elaborate costumes and choreography, and the occasional use of abstract expressionism, pointing to something more open to interpretation. And whilst this is not always clearly communicated, the songs are still all performed magnificently by a terrifically talented cast of five.

Each of the performers has ample opportunity to dazzle us with their vocals and acting abilities, and we are equally treated to some electrifying ensemble moments. Jaina Brock-Patel gave us plenty of her personality, with her take on a bratty, naive young lover during On Monday, being by far her strongest performance; equally Joseph Riley displayed his stunning, soaring upper range with great panache, as well as some solid guitar work, and Aaron Aisoni fought through mic issues to express himself splendidly, showing fabulous range.

In terms of the overall storytelling, the David Joseph Healy-led performance of the devastating, yet achingly beautiful Leave Luanne was the strongest number of the night, as it takes us on a hauntingly real journey of domestic abuse, set to an American folk inspired musical backdrop. Healy’s masterful acting through song, and the gradual build of choral harmonies has us fully immersed and engaged, and feeling every hardship Luanne experiences at the hands of her abusive husband.

On the obverse of this, the terrifically upbeat, endearingly morbid Ballad of Sarah Berry, led by Elizabeth Walker, has us foot tapping and head banging for the conniving high school princess dead set on becoming prom queen by any means necessary. Walker, in this number, was given the chance to show off her sky high belting, displaying breathtaking vocal control and power. Additionally this number gives lighting designer Katie Twist a chance to have some fun with the projected photos adorning the rear of the stage, which accentuates the story brilliantly. It was dark, morally questionable, and enormously entertaining.

The small size of a venue like the Phoenix Arts Club often means having to make sacrifices, and it definitely felt like elements were missing in terms of the orchestrations; most notable was the lack of cello or electric guitar, which made the accompaniment feel a touch sparse, though for the most part the small group of players made it work. But what the production lost in numbers (and, bizarrely, the omission of an entire song), it more than made up for in its presentation and undying spirit, with still life and theatre coming together in a delightful dichotomy of multimedia.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Dean Johnson