Theatre 29 opened its 2021 theatrical season April 2 with a virtual presentation of the modern Broadway musical “Songs for a New World.” Entertainment Reporter Charlie Thomas viewed its opening broadcast and submits this review…
Over the last year, live theatre has taken a hit due to our collective quarantines. The communal experience of shared storytelling that is the core of the stage ethos doesn’t always translate to recorded screen mediums. That was one of the challenges for Theatre 29’s first full-length virtual production of Jason Robert Brown’s “Songs for a New World.”
Another is the work itself. To say, “You have never seen a show like this” is an apt description of “Songs For A New World.” The lack of a concise plot or any of the other tropes one usually associates with a stage musical is a little disorienting for the casual viewer. At first.
Think of a song cycle as a concert with a theme. In this case, the theme is about newness. Each story told through song is centered around novel, initial experience: The excitement and trepidation of sailing to a new world; the fear and idealism of fighting to create a new nation; through the symbolism of a flag being sewn; reflection on the roads not taken. New life, new loves, new loss.
While adapting a stage play to a recorded film is a challenge, Director Scott Clinkscales’ clear vision and his skilled team keep the action going with smooth, flowy cinematography by Shafik Wahhab and crisp, clean professional sound design by Miguel Arballo. Mark Clinkscales’ video editing kept the show pacing quick but not rushed.
Scott Clinkscales’ set design was as much a cast member in its own right. It was a diamond shaped, multilevel edifice that allowed both for multiple vignettes as well as easily accessible camera angles throughout the expertly improvised sound stage. This design definitely kept in mind the eventual filmed viewpoint of the production.
Lighting was sufficient, not as a slight against the design, but any more light would have taken away from the pinpoint personal nature of each performance.
The deft hand of Clinkscales’ assistant director and frequent collaborator Lisa Goldberg could be seen in everything.
The talented cast members had their work cut out for them. Haley Kooyman flexes her comedic muscles in the showstopping number featuring a boozy socialite on the edge of sanity (and a high rise balcony) as well as pathos in a duet with Ben Bees, about reunited love.
Jasmine Shaffer and Jacquie Nicholson pore on the power. Shaffer’s fiery defiance with “I’m Not Afraid Of Anything” and Nicholson’s heartbreaking realization that comfort does not always bring happiness in “Stars and The Moon”, are powerhouse moments.
Ben Bees, Christian Quevedo and Van Angelo add solid vocals and soulful presence. Bees’ rendition of “She Cries” brings to life the powerlessness of love’s thrall, while Quevedo’s “Flying Home” is a heartrending salute to a soldier who paid the ultimate price for his nation. Van Angelo’s moving “King of the World” about a man imprisoned, yearning for freedom, could not be more timely.
Ceisley Jefferson, Haley Izurieta and Liyan Lagevardi, alternate sweet and sassy in their performances. Isurieta, who also contributed the limited choreography employed for the production, stole the scene as an embittered Mrs. Claus in “Surabaya Santa” just wanting her Nicky to come home, alternately broke out her urban beats for a duet with Scott Clinkscales in “The River Won’t Flow.” Jefferson added a soulful power to group numbers including “The Steam Train” and “The World Was Dancing”. Lagevardi brings warmth and wonder to “Christmas Lullaby” which is about discovery of pregnancy for the first time.
Director Clinkscales himself had to step into a role at the last minute, his vocal prowess was tailor made of this production. His renditions of “the River Won’t Flow” and “The Flagmaker, 1775” brought the house down.
The challenges of this project were massive, but this production is able to surmount them to bring a refreshingly unique theatrical piece to our Morongo Basin audiences.
The performers were required to wear masks on the group numbers, which is a shame as it limits facial acting. And because of the tightly woven harmonies in the score, sometimes the larger choral pieces were not always as clean as they needed to be. But these are minor issues in an otherwise enjoyable, novel experience.
“Songs for a New World” will stream online weekends through April 25.
For tickets, visit theatre29.org.
