A transformed Big School played host to the latest school musical 1917, devised and written by MCS Head of Drama, Alex Thomas.

This unique and ambitious production was set amid the turmoil of the Russian Revolution and seen through the eyes of the aristocratic Vebronskys. As the revolution takes its grip, the family’s privileged lifestyle quickly crumbles and the family lose everything they took for granted.

1917’s lavish costumes and set -with a chandelier as the centrepiece of the magnificent staging – immersed the audience in a world 100 years old and set the bar high before the action even got started. However, the storytelling was of an equally high quality, with style matched by substance: a brooding atmosphere emanated from the music and lighting, as simmering tensions were played out by the characters. The original musical score was outstanding, with flourishes of dark and light and a narrative structure of repeating themes and motifs crafted with great expertise.

There was an excellent rapport between the members of the central family, with Max O’Byrne and Anusha Abbas convincingly autocratic as the ill-fated parents, and Timmy Lavy and Issy Crutchley bringing a charming vitality to the roles of the younger brother and sister. Mia Hammersley and Harry Camilleri, playing older siblings Ana and Sasha, led us through the story with aplomb, as their paths intertwined with avant garde theatre director, played engagingly by Alex Shadbolt. Diggy Hill’s soaring voice was showcased in some powerful solo moments as maid-servant Katya, torn between head and heart, while Benedict Mulcare brought intensity and bravado to the role of the bitter revolutionary, Kaplov. There were also strong performances from Joe Woodman, Zach Nairac, Ivo Leonard and Maddy Mabon in supporting roles.

The band played with great verve – tucked away cleverly as they were behind the scenes but close to the action on set – and the talented cast delivered both the softer Russian-influenced folk and jazz numbers and the soaring musical melodies with grace and gusto. The closing song of the first act – the aptly-named ‘The other half!’ – was particularly rousing, and offered a striking counterpoint to the emotionally charged duets between Sasha and Katya. This set the scene for Act 2, when the trials of the Vebronsky family reached their climax, and they each began in their different ways to search for a new position in society.

Mr Thomas got the idea for the show from Douglas Smith’s Former People, which follows the lives of three aristocratic families through the Russian revolutionary period, and the plot for 1917 is drawn from real experiences of the time. This certainly made for gripping storytelling, often  seeing two scenes playing out on the one stage, giving an added sense of the different ways in which people, young and old, rich and poor, were affected by this tumultuous time.

Add to this the striking set pieces, expertly choreographed dance routines and thrilling chorus numbers – not to mention the sheer creative drive that led to its creation –1917 was a tour de force that wouldn’t have looked or sounded out of place on a West End stage.