Song Cycles Done Right in "Songs for a New World"

Song cycles occupy a peculiar position in the arts world. Lacking plot or cohesive characters, they offer an opportunity for experimentation but may also be prone to poorer productions: stellar acting cannot substitute for lackluster vocal talents, poor directing cannot be overshadowed by plot or characters, and the ability to synthesize a common theme among many pieces becomes crucial. Fortunately for Harvard-Radcliffe Dramatic Club’s “Songs for a New World,” which ran April 10 to April 12, most of these obstacles were overcome.

“Songs for a New World” is a set of several musical vignettes that center on different people and their unique stories—some hopeful, some humorous. Without a central plot, the actors faced the difficult task of portraying different roles in every song. The performers met the challenge well, bringing dynamic interpretations to their various characters, which in less capable hands were in danger of being one-noted. Mastering the emotional nuances of two very different women in the production, Leah Reis-Dennis ’13 stood out. Initially portraying a disgruntled wife threatening to commit suicide in the first act’s “Just One Step,” Reis-Dennis was darkly humourous with her sudden wry—perhaps threatening—smiles and comic, forceful hand movements as her character chides her husband. On a much somber note, Reis-Dennis then transitioned into a reflective, skeptical flagmaker during the Revolutionary War in “The Flagmaker, 1775,” where she brings a decidedly more demure performance. In a production where characters are built and torn down within a matter of minutes, Reis-Dennis acquitted herself beautifully.

Replete with tricky vocal jumps and sudden shifts in speed and volume dynamics, the score exhibited a wide range of emotions in the production, which the cast successfully executed with gusto. Although the entire cast was vocally on point, two talents were especially noteworthy: Joshuah B. Campbell ’16 and Amy K. Sparrow ’15. Campbell brings power to his performances in “On the Deck of a Spanish Sailing Ship, 1492” and “Flying Home” with his soulful voice, while Sparrow infused admirable singing with spirited acting in “Surabaya-Santa.” As Mrs. Claus complains about her marriage to dear old Saint Nick, Sparrow dexterously jumped from low to high notes with precision in seconds, showing her frustration in ways that go beyond words. In addition to tremendous solo vocals, the harmonies effortlessly accompanied the lead singer. There were times where the voices cracked under the strain of the high notes, but these instances did not detract from the strength of the overall singing.

Director Susanna B. Wolk ’14 complemented the actors and thematic elements of each song with thoughtful staging. Rather than containing the production in a small space, Wolk utilized the entire theater beyond the stage. This lent greater impact to certain songs and allowed for greater creativity in bringing each song to life. At the beginning of “On the Deck of a Spanish Sailing Ship, 1492,” Campbell stood on top of the stairs in the back of the theater, overlooking the audience and performers. As he pled to God, the image created was reminiscent of a preacher above a congregation, an apt parallel in a song about the search for mercy and a better world. Lighting by Chris Fournier also accentuated the shifting emotional currents. Bursts of red and oranges reflected sudden epiphanies or stronger emotions; muted blues represented the characters’ controlled feelings.

Nevertheless, the challenge of developing some cohesiveness from the music proved to be the production’s largest problem. The individual pieces were rich, but any thread weaving them together was not visibly apparent. Script-wise, every song dealt with a decision, be it the decision to jump off a building or to leave a loved one. Combined, they became a testament to people’s experiences across time and generations. Yet the execution generally lacked a continuity that would make the scenes feel as if they belonged in one show. An exception was the transition from “The Flagmaker, 1775” to “Flying Home”; as Campbell sung his opening verses, he draped the flag over a frozen Reis-Dennis. It was a moment of interaction from one scene to the next that seemed to elucidate a deeper meaning between the songs.

Regardless of its imperfections, “Songs for a New World” proved to be an entertaining journey through time and space. While song cycles may not have widespread appeal, the production is nevertheless an excellent example of how it should be done—with careful staging, orchestration, and an energetic and talented cast.