Musical Worlds Collide in Olga S Popova’s Genre-Defying New Album

Time travel, they say, exists only in dreams and fiction. Yet for composer Olga S Popova. The Russian-born composer and pianist, who first touched piano keys in Moscow’s storied halls, has emerged as one of music’s most intriguing storytellers, blending classical virtuosity with an unmistakably modern vision.

Popova’s musical journey reads like a composer’s dream: performing as a soloist at Moscow’s Stanislavsky Music Theatre at just nine, winning the prestigious Mozart Wunderkind Competition in Austria a year later, and eventually making her way to the innovative corridors of Boston’s Berklee College of Music. But it’s her latest venture that might be her most ambitious yet.

On March 14, 2025, Popova unveiled “Wayne’s Gun Part 1: 1924”, a seven-track musical odyssey that defies easy categorization. Available on both Spotify and Apple Music, the 21-minute album serves as the opening chapter of what promises to be an epic musical trilogy. In an age of digital isolation, Popova has managed to orchestrate a stunning collaboration, bringing together more than 150 artists spanning ten countries.

The project bears the polish of industry veterans, with five-time Billboard nominee Luis Canción (whose impressive credits include work with Snoop Dogg, Lecrae, and Andy Mineo) lending his expertise alongside Universal Music Poland’s Romano Eraffici. Their combined experience helps ground Popova’s adventurous vision in sonic excellence.

At its heart, “Wayne’s Gun” tells the tale of scientists Mona Delancour and Simon Silicia III, whose time-traveling zeppelin tears through the fabric of reality itself. It’s the kind of high-concept narrative that could easily collapse under its own weight, but Popova’s deft handling of steampunk elements, sci-fi themes, and historical drama creates something remarkably accessible.

The musical’s journey to the public eye has been nearly as dramatic as its plot. After captivating a packed house during its Moscow premiere in December 2021, the production crossed the Atlantic for its American debut at Boston’s Jackson Browne Stage in April 2022. Theater heavyweights quickly took notice. Broadway director Eric Stern, known for hits like SHREK and XANADU, joined the chorus of admirers alongside Elvira Takha, whose choreographic magic has enhanced productions from Cats to Mamma Mia!

For those who want to follow Popova’s artistic evolution, her Instagram and Facebook offer regular glimpses behind the scenes. Her portfolio extends well beyond “Wayne’s Gun,” featuring contributions to Disney’s “Dr. Jane Goodall” documentary and the animated series “Ginji.” Each project showcases her ability to adapt her classical training to contemporary demands.

The release of Part 1 marks just the beginning of Popova’s grand vision. While fans digest the first installment, Parts 2 and 3 are already taking shape behind the scenes. Plans for a theatrical world tour are in motion, and whispers of a potential film adaptation have begun circulating in industry circles. The production team maintains an open door policy for potential collaborators, whether they’re producers, theater companies, or creative professionals looking to join this expanding artistic universe.

In the immediate future, audiences can look forward to experiencing Popova’s work in fresh contexts. A series of orchestra performances under Jordan Conover’s direction promises to bring new dimensions to the music, while an innovative collaboration with Boston Conservatory dancers will add visual interpretation to Popova’s compositions.

With its sweeping ambition and global ensemble, “Wayne’s Gun” challenges conventional boundaries of musical theater, offering a glimpse into what might be possible when classical expertise meets contemporary innovation. As Olga S Popova and her international collaborators push forward with the trilogy’s next chapters, they’re not just telling a story about time travel – they’re reshaping how we experience musical storytelling itself.