Editor’s Note: This article is a review and includes subjective thoughts, opinions and critiques.
Comedy and horror don’t usually share the same stage, but the Fleet Street Singers (Fleet Street) — Stanford’s only all-original comedy a cappella group — has found a way to balance both. Known for high-energy performances and parody-driven humor, Fleet Street takes a risk with “SHH” (2026), an original short film that leans into psychological thriller elements while still keeping comedy at its core.
From music videos to full-length skits, Fleet Street has a history of exploring a wide range of projects. Personally, I’ve seen the group perform live during New Student Orientation and Family Weekend, where their fast-paced sets relied on musical comedy and quick sketches. The group’s willingness to embrace humor and not take itself too seriously felt especially refreshing. That same creative energy on stage carries into Fleet Street’s filmed work — but “SHH” also highlights the group’s versatility.
The 22-minute film was created for Fleet Street’s 2025-2026 winter show, “’Inter ’How.” In past years, the group built its annual winter productions around parody, including an “Ocean’s Eleven” spoof and an a cappella production of “Romeo and Juliet.” Now, with an original story written and directed by Jacob Bowers ’28, Jack Cowan ’27 and Zoe Ehrlich ’26, “SHH” takes Fleet Street’s creative directions to a new level.
The story follows a group of students — Pleabus (Bowers), Leland (Rohan Seiber ’29), Stacy (Maya Shtangrud ’29) and Chad (Milana Carse ’29) — arriving at a house for a weekend stay. The members of Fleet Street filmed in a real home, which gave the setting a lived-in feel that grounds the story from the start. The group quickly settles in, joking, eating and arguing about music before small details begin to shift the mood: a flickering light, strange sounds and behavior that doesn’t quite add up.
Watching “SHH,” two scenes in particular stood out to me. In one, Pleabus sits on the couch watching TV as the reporter (Cowan) suddenly turns toward the camera and snaps, “You’re not supposed to be here. You need to leave… get out.” The abrupt shift, and the equally quick return to normal when Stacy re-enters, feels both unsettling and funny.
In another scene, Fleet Street’s original song “Everyone Pees in the Shower” begins to play and slowly distorts, blending familiarity with unease and bringing the focus back to the group’s musical roots.
In the final stretch, the film expands beyond the house. A sudden shift introduces a police investigation following a nearby car crash involving a group of college students. When officers arrive at the house, they find signs of disturbance — an open door, moved belongings and what appears to be blood — reframing the earlier events in a darker light while still leaving much unresolved. The ambiguity of the ending reinforces the film’s balance between tension and absurdity rather than fully committing to either.
Sound design drives many of the film’s strongest moments. The click of a light switch, the hum of the house and the low ambient noise all feel heightened. At one point, what sounds like wind almost becomes a shushing noise, creating a brief moment of confusion that works as both tension and humor.
Ehrlich’s editing stands out throughout. The cuts feel both cinematic and comedic — a difficult balance that the film consistently achieves. Quick transitions and deliberate pacing elevate even simple actions, adding to the film’s retro, stylized feel.
The cast’s chemistry carries the film. Each performer commits fully to the tone, making even the most absurd elements land. That commitment is especially clear in the film’s recurring “penguin” thread, which evolves from a passing mention into the main antagonist. Lines like “I’m not going to let you win, Penguin” land because the cast treats them with complete seriousness.
“SHH” experiments with genre, but it never loses sight of the a cappella group’s comedic roots. By combining familiar Fleet Street humor with a more stylized, suspense-driven approach, the film creates something that feels both new and recognizably its own.
Fleet Street’s Spring Show, “’Pring ’How,” will take place on May 30. After seeing them take on an original film like this, I’m eager to see how that creativity carries into their next performance.