35mm: A Musical Exhibition

Kudos to Little Triangle director Alexander Andrews for his fresh ensemble interpretation of Ryan Scott Oliver’s musical theatre song cycle, based on Matthew Murphy’s photography, though that vision did require some homework either before or after the show for maximum impact.

Originally staged Off-Broadway in 2012 as a multi-media piece featuring projections of the photographs which inspired each song, the performers back then sang at fixed stand microphones. In this more theatrical interpretation, the photos are no-where to be seen, but we have character and relationship arcs threading through the staged and choreographed vignette-style songs. A photographer character also circles the scenes, capturing shots, as we’re seemingly asked over time, are they observer or intruder.

Originally written for 5 performers, simply titled Man 1, 2 and 3, and Woman 1 & 2, here a splendid expanded cast of nine all have names in keeping with their arcs - The Observer (Kira Leiva), The Seeker (Izzy Hanly), The Adventurer (Brodie Mansini), The Maverick (Oli McGavock), The Dreamer (Aaron Robuck), The Queen (Jenna Woolley), The Sage (Mikayla Burnham), The Lover (Nina Carcione) and The Angel (Jack Dawson).

Arriving home, my scroll through Little Triangle’s social media revealed the photos which inspired the songs. Wanting more background, I googled and found a YouTube presentation integrating the Murphy’s photos with the show’s recording. https://youtu.be/1yJbmoHwUDQ?si=snpOMIIypKxRJRK6

I’d recommend checking them out before attending, though you may well be content to sit back and simply enjoy a themed cabaret-style evening.

Enough, though, of what’s missing. As always, an evening with Sydney Art House musical theatre company Little Triangle brings rewards.

In a super ensemble performance by a cast of talented emerging musical theatre performers, focus is an absolute hallmark. Cast members, on stage, or strategically placed in the auditorium, constantly direct our focus, camera-like, to the pivotal performers at any given moment, the exceptions being a couple of company songs, when, framing the edge of the stage, they shift the lens onto us, directly challenging our perceptions.

These splendid performers alternately lift the roof off the Flight Path Theatre, then draw us in to intense personal stories – affecting in their dreams, yearnings, reflections, love, pain and humour. The intriguing score encompasses a range of styles including rock and various musical theatre styles, finally rousing us late in the show with “The Ballad of Sarah Berry”, a Broadway-belted 11 O’clock styled number, though it actually comes in well before 9 o’clock in this 80-minute musical.

Music Director Jeremy Kindl and Assistant Music Director Nikolas Zielinski bring the cast and a tight on-stage band together impressively. Sadly, feedback marred the start of some numbers on opening night, though it was adjusted quickly, in a venue which must provide mixing challenges for audio designers.

Suspended above the stage is a representation of a camera lens, while the costuming is purely black and white – both nods to the photographic inspiration of the piece, though Murphy’s images themselves are often anything but b & w.

I left Flight Path Theatre with mixed feelings, and just a little bemused. I’d really enjoyed this gathering of musical theatre talent, but I’d spent rather too much time during the early in the show distracted - wondering about the photos, how they fitted in, were the photographer character’s snapshots actually capturing the actual moment of Murphy image (they’re not), and such-like.

A piece of art was central to Little Triangle’s first production at this venue, Sondheim’s Sunday in the Park with George. We didn’t see the background of that painting scenically depicted, but it’s so iconic to Sondheim fans that we didn’t need it. These photographs are not so familiar.

Do get along to see this lesser-known musical - perhaps share the images on your ‘phone over dinner, and over drinks afterwards.

Neil Litchfield

Photographer: Clare Hawley