A psychotic toddler, a pair of sadistic lovers, the ghost of a Southern woman, a high-school prom queen—these characters and more inhabited the wonderfully chaotic world of “35mm,” Ryan Scott Oliver’s experimental collage of pop-rock tunes set to a backdrop of compelling photographs taken by Matthew Murphy. Throughout the 90-minute run time, songs by turn intimate and energizing explored everything from romance to religion. Although no discernible plot threaded all of this together, the production still cohered as a charismatic and captivating product, just as the best musicals always do.

“35mm” starred five cast members in a variety of roles: Geoffrey G. Binney ’17, Brian A. Cami ’19, Ashley LaLonde ’20, Brooke E. Sweeney ’17, and Jacob D. Rienstra ’18. Each scene centered on particular photographs projected in the background, with some photographs, specifically those corresponding to emotional solos, getting more attention than others. “The Party Goes with You” stood as a particularly powerful example of the integration: During Sweeney’s enchanting solo, the screen lingered on a wistful picture of a balloon-holding man walking away from the photographer, highlighting a potent undercurrent of loss.

The integration of photography overall was effective, acting as an extremely minimal set design that provided jarring and puzzling visuals while avoiding distraction, focusing attention on the actors. Director Missy Dreier ’19’s lighting choices were similarly restrained but successful: Some of the more energetic rock anthems, for example, were cued excellently to red spotlights, adding to the intensity of those moments.

But the real highlight was the singing; though there were just five actors in the cast, each clearly gave it their all. Every member got a powerhouse solo: LaLonde stunned with an amazing belt in “On Monday”; Rienstra provided a hilariously deadpan rendition of “Caralee”; Sweeney gave an incredibly intimate performance of “The Party Goes With You”; Binney inspired with the rousing number “The Seraph”; and Cami delivered a powerful performance of “Good Lady.” The chemistry between the cast members was palpable during ensemble pieces and made for some extremely emotional moments during the romantic ballads, “Cut You a Piece” being a memorably heart-wrenching example.

The tight choreography also added greatly to the production, complementing the dynamism of the rock without detracting from the singing. Some particularly ingenious staging even had the actors mirror the photograph projected behind them, fusing the photography and the music together seamlessly. Dreier used the theater space well, providing some great mid-song entrances and exits from the back of the audience that kept the audience engaged.

The small pit orchestra, led by conductor Liz P. Kantor ’18, filled the theater with catchy rock melodies and rhythms, with driving guitar riffs, pounding drums, and some great keyboard sounds keeping the audience engaged throughout the 90-minute performance. In some of the transitions and more intimate moments, the limited group of musicians lacked the power of a full orchestra, and the musicians occasionally overpowered the singers during the more upbeat songs, but overall the orchestra infused the production with an infectious sense of fun reminiscent of the music of “Rent” or “Spring Awakening.”

“35mm” rocketed between tenderness and explosion, with the intimate setting of the Adams Pool Theater adding to quieter moments perfectly and the enthusiasm of the cast and orchestra driving the powerful rock anthems all the way to the last row of the theater. The experimental integration of photography paid off, too, fusing with catchy tunes to make a great aural and visual experience. The production clearly showcased the best of Harvard’s musical and theatrical talent, providing an unforgettable thrill ride to boot.