Being a creative person within a modern world can be tricky.
With AI on the rise, a lack of job opportunities and the industry itself being cut-throat, trying to succeed can feel like a game of snakes and ladders.
It’s a feeling that many know, but few talk about. George Oates is not one of those people, taking his time to create a new gig-style musical about a songwriter who moves to London to pursue their dream of writing for the stars.
With a short running time of 50 minutes, ‘POP’ envelopes the trials and tribulations many people face when pursuing their biggest dreams. Moving to a new city, taking up an ill-paid job to cover any expenses for the time-being and desperately fighting to not give up on your goals is a relatable tale to many.
The newly written soundtrack to the musical was phenomenal; each song had heart and soul put into it. With the lyrics clearly reflecting the intense emotion of the main character in each scene, it was difficult not to feel sympathy during the difficult moments or laugh along in the cheerful ones.
Writing a new musical is extremely tough, but being able to write songs that flow well and perfectly capture the emotions of each scene is a completely different game. Making a catchy rhythm, lyrics make
sense and keeping it all on beat is a series of challenges that director and songwriter, George, has mastered.
I often find that musicals with large casts don’t allow us to see each performer’s skills in full force. With ‘POP’ only having a cast of five, each actor had their chance to shine. The chorus included the talents of Jonah O’Sullivan, Emma Mitchell, Poppy Glaze and Lucy Butterworth, each of whom offered up their unique set of abilities to the show. Many of the songs included a choreographed number and although some of the chorus members may not have been trained dancers, it was clear they’d put heaps of effort into rehearsing the choreography and keeping time with one another.
In terms of vocals, each cast member gave each song everything they had; the projection, lyrical memory and energy were on- point! Although, I couldn’t finish this review without taking a moment to appreciate Emma Mitchell’s extreme vocal talent. Her ability to reach high notes without entering her head voice and
keep her vibrato controlled was something spectacular! If this musical is further developed into a long-running show, on a stage with an interval, it would be a crying shame not to see her in the cast.
In the coming months, ‘POP’ is being taken to the Edinburgh Fringe Festival, performing at Venue 38 from August 4 th – 9 th, an opportunity I applaud them for achieving. The Fringe Festival will be incredible for the entire cast, giving them the chance to show off the months of hard work they’ve put into their project and get their names out there! I hope as the Festival comes to an end late summer, and the cast returns home, they will take the time to develop ‘POP’ further. Turning this musical into a longer production with a full cast and a larger array of musical numbers would be an absolute treat!
Best of luck and warmest wishes to the cast as they make the journey to the Edinburgh Fringe – I know you’ll do swimmingly!
