Looking for a unicorn? Soundworks Productions’ Songs For A New World is that incredibly rare theatrical achievement in which a modern lens is imposed upon an existing show and actually achieves fascinating, entertaining results.
Arriving in quick succession after their recent boffo season of Parade, Songs For A New World is also impressive for the high quality of the cast and band and for the classy production values at play. At a time when the number of independent musical productions are on the wane, Soundworks Productions has firmly established themselves as a major force; local musical theatre fans should keep the company firmly on their radar.
1995 Jason Robert Brown song cycle Songs For A New World is well known to Melbourne audiences, having been staged both in the original format of four performers and with larger ensemble casts. The self-contained songs are often used in cabaret performances and every self-respecting musical connoisseur has a well worn copy of the World Premiere Recording.
Setting this season apart are two unique factors: traditional genders for some songs have been altered and the usually static staging of the show has been richly infused with dance; the title could well have been changed to Song and Dance For A New World.
Clearly working in close collaboration, director Lauren McKinnon and choreographer Benjamin Curé have explored the songs anew, sharing the spotlight between a supremely talented ensemble cast of 14 and adding varying degrees of dance to almost all of the songs. The risk for the insertion of dance was the creation of unnecessary distraction. The intelligence and flair of Curé, supported by McKinnon, sees swirling inner thoughts brought to vivid life through dance. It also helps that each cast member, strong singers all, can also dance, with around half being exceptional dancers.
One device cleverly used is for a dancer to represent the singer, expressing the story in dance while the singer continues with the lyrics. In “Stars and the Moon,” shared here by three women rather than one, three male dancers represent each of the suitors. Featured dancers bring additional life to act one closer “The Steam Train,” conjuring the sporting energy described by the budding basketball player in the song. Full company dance enhances the opening songs and makes finale “Hear My Song” a real showstopper.
Taking inspiration from the second song, “On the Deck of a Spanish Sailing Ship, 1492” (in which passengers are literally en route to a new world), McKinnon sets the production on a ship-like set, with Curé often working the rigging or sail into the choreography. Emerging designers Harry Gill (set) and Sidney Younger (lighting) craft a visually appealing stage with various levels and movable pieces. Gill has a ceiling of warm glass globes overhead, and provides a memorable feature in “King of the World” when the storytelling is boosted with shadow-performers behind outstretched sails.
Given the original focus of the show on songs (it’s right there in the title), all of this would be of little value without also having strong musical performances. The 14 performers all fit the term “powerhouse vocals” to a tee; individually they are strong, in full ensemble harmony the sound is incredible.
On piano, musical director Mark Bradley leads eight fellow musicians, which is a generously-sized band for the scale of production. Bradley and co-musical director Benjamin Samuel deliver a pristine musical performance. If there is one criticism, it is that almost every soloist sings at their loudest volume, meaning that subtlety is in short supply, although there is plenty of emotion in the vocal expression.
Changes made to the assigned singers include three women (Alessandra Merlo, Mollie Williams, Chelsi Hardcastle) in “Stars and the Moon” and two women (Williams and Hardcastle) as part of an ongoing lineup of suffering spouses of Santa Claus in “Surabaya-Santa.” Rather than one woman, all of the female-identifying cast sing “The Flagmaker, 1775” as they sit and sew the sail.
More significant changes include Benoit Vari fluttering his expressive eyelashes singing “Just One Step,” which was written for a wealthy wife on the edge. Gabriella Barbagallo brings a determined grit to the inner city basketball-playing youth singing “The Steam Train.” Written for a man and woman, Vari and Matt Hourigan memorably play the impassioned former lovers in “I’d Give It All for You.”
Further vocal highlights include Tayla Muir in “Christmas Lullaby” and Teo Vergara bringing the show home with “Hear My Song.” A significant feature of Vergara’s vocal performance is that they are one of the few to sing softly, with the song subsequently building to a rousing climax when the full cast join.
The talented ensemble is rounded out by Cameron Davey, Campbell Bonello, Jayden Prelc, Nina Dell, Zac Parkes, and Zayneb Zerzouri. Special mention of the prodigious dance talents of Prelc.
A genuinely fresh interpretation, Songs For A New World is highly recommended for local musical lovers looking for great value theatrical entertainment.
Songs For A New World plays at Chapel off Chapel, Melbourne until 15 October 2023. For tickets, click here.
Photos: Matthew Chen