Some things are viewed better without context. Normally this doesn’t work for films or plays, but it absolutely works for From Up Here. It’s a musical that debuted in 2012 and thankfully, was recorded so that others may have the chance to see it. From Up Here is lacking in context but it certainly doesn’t lack in substance. It’s a show that must be seen to be fully understood as even an attempt at discussing it with others would not suffice to make sense of what it’s trying to get across. Digital Theatre is currently where it’s found a home.
From Up Here is a production that demonstrates humanity in an occasional humorous yet touching way less commonly seen in most traditional stage plays
The musical features five strangers. There are no back stories, very little to go on besides what they decide to share, and all of them at one point or another find themselves on the Brooklyn Bridge; each with different motivations for being there. One thing that is evident is that each character is going through something. Some of them are emotionally conflicted, and some of them are there for more specific purposes that have nothing to do with their current state of mind. With each musical number, they all bare a piece of their soul to the audience that provides a touch of insight as to their place in the world. From Up Here is a production that demonstrates humanity in an occasional humorous yet touching way less commonly seen in most traditional stage plays.
The music makes the magic in From Up Here. Aaron Lee Lambert’s musical composition displays pleasant instrumental accompaniment, soft overlap and harmonies between the performers, and innovative contemporary lyrics that reveal each characters’ purpose. There is dialogue, but most of the musical is governed by the songs of which there are sixteen. This is of no consequence, because the show only runs for about an hour so nothing about the show feels like overkill or as though there’s too much of any one thing. Each character has a story that slowly transpires as other characters move in and out of their narrative. It’s an interesting way to construct a plot, showing that Lambert clearly had a desire to stand out from other musicals. The actors cast for this version of the production were sound choices made by director Luke Sheppard, accommodating the musical necessities and stepping up when only require to act.
From Up Here isn’t really like other musicals, but surprisingly this is what gives it value. It breaks some staging rules and reinforces others, but it gives audiences a look at something more devised than what’s normally being staged in the twenty-first century. It may not be a huge budget Broadway show or a prestigious West End play, but it does enough right to warrant acclamation if even only a minimal amount. There is also a bit of mystery involved, as the circumstances are such that the audience can draw their own conclusions from what they see in the characters. All of this for a short show, so go ahead, spare an hour.
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