Theo Ubique’s production of Songs for a New World resonates deeply, offering a much-needed dose of hope that speaks to every theater enthusiast—and indeed, anyone with a pulse—in our current times.
I decided to bring my fourteen-year-old daughter along to experience Artistic Director Fred Anzevino’s interpretation of Jason Robert Brown’s inaugural musical. Originally debuting in 1995, this production now graces an intimate cabaret setting, perfectly suited for this compelling four-person show.
Reviewing plays often comes with the perk of two tickets, a chance I cherish to connect with my children. The drive becomes our time for conversation, sometimes even preceded by a pleasant dinner if traffic allows. For musicals, the soundtrack becomes our pre-show immersion. Post-performance, the return journey is filled with reflections. While my children usually remain behind the scenes in my reviews, occasionally, like now, their perspective weaves seamlessly into the narrative. More on this shortly.
Songs for a New World immediately captivates with Nova Navarro’s breathtaking opening number, “A New World Calls Across the Ocean.” Her voice, powerful and resonant, instantly sets the stage for the ensemble’s exploration of hope and pivotal moments. The musical’s core message is clear from the outset: “It’s about one moment.”
Navarro’s initial notes establish two crucial points. First, the intimate cabaret setting can barely contain her vocal prowess. It’s not a critique of Theo Ubique, but rather a testament to Navarro’s extraordinary talent that seems boundless. Her voice could easily reach across Evanston, potentially carrying as far as Wilmette. Fortunately, her voice is as beautiful as it is strong. Second, despite being composed just over 25 years ago, Songs for a New World serves as a musical reflection from a distinctly different era.
With “On the Deck of a Spanish Sailing Ship, 1492,” Eustace J. Williams delivers a poignant and soulful portrayal, delving into the historical roots of the challenges we face as we contemplate this “New World.” This piece highlights Songs for a New World’s profound strength—a characteristic Jason Robert Brown would further refine in his later masterpiece, The Last Five Years. Brown masterfully leads us to the brink of disbelief, and occasionally, perhaps even slightly beyond, only to skillfully pivot, grounding us in reality before lifting us once more to emotional heights.
Within the first six songs, we journey extensively through JRB’s “New World.” From the historical depths of “The Deck of a Spanish Sailing Ship, 1492” to the precarious ledge of a New York City apartment in “Just One Step,” where a wife contemplates a comical yet desperate act, to the unwavering resolve of a woman “Not Afraid,” and the desolate banks where “The River Won’t Flow,” culminating in the aspirations of a dreamer in “Stars and the Moon.” This musical song cycle sweeps us along, propelled by a talented and versatile cast, accompanied by a dynamic two-piece band.
Under the musical direction of Jeremy Ramey, a multi-Jeff award winner on piano, and professor Lior Schragg on percussion, each of the four cast members enriches Brown’s music and Avenzino’s vision with their unique qualities. This vision is further amplified by associate director and choreographer Jamal Howard. Howard’s choreography injects vitality and dynamism into the performances, effectively preventing the static feel of singers simply performing from stools.
Alternating between uplifting and heartrending, comedic and soulful, and moments of anger and joy, Songs for a New World consistently returns us to profound moments of truth. In Eustace William’s performances of “The Steam Train” and “The River Won’t Flow,” the latter a duet with Matthew Hunter, we experience both the allure of the future and the weight of the past. Whether it’s William’s electrifying energy, particularly evident in “Steam Train,” or Hunter’s genuine sincerity, their performances contribute something truly exceptional.
Interwoven with elements of gospel and jazz, JRB crafts deeply moving and hopeful love songs, beautifully poignant in their exploration of love and loss. Navarro and Hunter’s renditions of “The World Was Dancing” and “I’d Give It All for You” exemplify this emotional depth. Just as we might linger too long in the realms of love, loss, and renewal, Emily Goldberg bursts onto the scene, showcasing her remarkable range from comedic flair in (Just One Step and Surabaya Santa) to profound emotional resonance in (The Flagmaker, 1776). In less capable hands, One Step and Santa might seem somewhat incongruous within the musical revue, which they arguably are. However, Goldberg’s captivating and humorous portrayal, especially her hilariously indignant Mrs. Claus, becomes a definitive highlight of the show.
Whether positioned under a moonlit ambiance in the first act or atop the bar to commence the second, Goldberg, along with the ensemble, fully utilizes the cabaret space and James Kolditz’s understated yet effective set design. This design choice enhances the connection between the audience and performers within the intimate venue.
Songs for a New World is not without its imperfections. While brimming with energy and heartfelt emotion, certain moments and lyrical choices feel somewhat dated. Yet, its imperfections arguably contribute to its charm and relevance, making it a particularly fitting musical for our current times.
Sitting in the theater, approximately twenty-five years after the musical’s initial debut, masked and amidst a global pandemic, I found myself contemplating the recurring promise of Songs for a New World—hope, love, and resilience in the face of heartbreak, tragedy, and injustice. It echoed the closing lines of Brown’s “Stars and the Moon”…
“And the years went by
And it never changed
And it never grew
And I never dreamed
And I woke one day
And I looked around
And I thought, “My God
I’ll never have the moon.”
The performances were exceptional, as was the music. However, I couldn’t help but feel a sense of nostalgia for the pre-millennial hope. It evoked a longing for times when the challenges we faced felt like mere verses in a song, not the entire narrative. I longed for a kind of twenty-five-year reset, perhaps with a touch less selfishness and more unity, less frustration and greater understanding, fewer fixations and more solutions. Perhaps, we could collectively strive for better this time.
Then, I glanced at my daughter beside me, born in 2007. The world I find myself frustrated with is the only reality she has ever known. Yet, she was engaged, captivated by the music, and perhaps even experiencing a flicker of hope. Seeing her, I felt a renewed sense that this time, we might indeed do better. I mused that somewhere between my yearning for a past do-over and her future-oriented hope, we might discover a shared truth. On our drive home, I asked her about her experience, but she simply wanted to listen to the musical again. I interpreted this as an overwhelmingly positive sign.
Songs for a New World is scheduled to run through October 24th, and tickets are available at theo-u.com/.
