Harmony: “Songs for a New World,” at the Black Box Theatre through July 19

I was overdue for captivating theatre, and on Friday, the Black Box Theatre delivered.

Songs for a New World, a collection of numbers written and curated by celebrated composer Jason Robert Brown, was first produced off-Broadway in 1995. Shelley Cooper, associate professor of theatre arts at Augustana College, co-directed this production with Kelsey Walljasper, who directed Kinky Boots at Quad City Music Guild in April. Both have not only many behind-the-scenes credits, but also are performers themselves. As such, their wisdom is evident in this production.

The work of music director Mitch Carter and assistant music director Rob Elfline is utterly vital, as well, as song comprises almost the entire experience. (There are only a few spoken lines.) It's hard to describe or quantify the structure. It's akin to the musical Working, which is a series of vignettes focusing on one character at a time, with actors doubling on roles – except it's as if Stephen Sondheim, not Stephen Schwartz, had written it. Songs for a New World is nearly an opera, but with no plot or continuing characters. It's effortless to gladly lose yourself in this. You just have to listen, watch, and feel.

The songs spring from history and fantasy; love and its lack; rage, joy, ambition, desperation, loss, and personal and continent-spanning tragedy. They depict the transcendent emotions before giving birth, and leaving after death. They're about realizing that getting what you always wanted isn't really what you want – and accepting that you'll never get what you really want. Many of the numbers are angry or bittersweet, which suits me, as 16 happy songs would depress me even more than 16 sad ones. However, the comedy in a few of them is decidedly a relief. The desperation of neglected wives provides humor in two scenes, which seemed wrong to me at first, until I remembered Mel Brooks' assertion that comedy is when someone else – not you – walks into an open sewer and dies. (Incidentally, I cried during the few happy, hopeful songs.)

There are a few duets and company numbers, but most of the New World songs are solos. There is such power in looking into a single face, so close to mine, expressing nakedly or guardedly what the character is feeling. Conversely, experiencing the joined might of eight people exuding waves of meaning and sound, amplified only by their bodies, not electronics – the force and intensity is so welcome. It's proof that theatre gives life, and strength.

I don't have the words to emphasize the stunning effect of the massive combined talent in this intimate playing space, coupled with the artistry of Brown's music and words. However, here are a few words about the actors. Evan Gagliardo was a standout as Harry in his one number in Music Guild's Kinky Boots, and here he is again, captivating me. I first saw Jordyn Mitchell on stage this past February as a Delta Nu in Legally Blonde at the Spotlight Theatre, and she's also performed at Music Guild, the Spotlight, and, at age nine, at Circa '21. I enjoyed Kaden Micklos playing the heavy, Balas, in The Memo at Augustana last year. Mitchell and Micklos are young, but clearly beginning impressive theatrical careers.

Katie Griswold, a frequent area music director and performer, was in Augustana's OperX production of Songs for a New World in 2020. I remember her well as Heidi in [title of show] on this stage last July, and wished I could see her onstage again. Got my wish! She's here filling, then breaking, my heart. I first saw Keenen Wilson on the Black Box stage in 2017, and have loved him in many memorable roles since. This production adds four more parts to my store of wonderful memories.

I've seen Kira Rangel on several local stages, and she has directed, as well. She is shatteringly real in serious scenes, and here, I got another taste of how hilarious she is doing comedy. Noah Hill is another actor (and director) I've seen often, who delighted me as the baddie in the Spotlight's Tuck Everlasting, and shows his range in his roles here. Noel Jean Huntley impresses me deeply in every show, and in this production she made me cry – twice.

It takes more than acting to make a show, of course. The amazing eight-piece orchestra is Brandi Duncan, Claudia Dlugosz, Fletcher DuPree, Karen Neder, Matt Reece, music director Carter, Peter Letendre, and assistant music director Elfline. The set, designed by Black Box co-founder and artistic director Lora Adams, is a dock-like narrow platform of mixed types of wooden planks with a step or two on either side. A graceful, white drape is above, ready to be illuminated by subtle but effective lighting, and there's a textured gobo adding a bit of interest to the floor and black curtain backdrop, courtesy of lighting designer Mike Turczynski.

Here, lyrics tell us we've each got critical moments "to try to decide: Be safe or be free; the new or the old." Overwhelming choices – but see this show and you'll believe you can make them and live with them, and handle whatever Fate throws at you.

Songs for a New World runs at the Black Box Theatre (1623 Fifth Avenue, Moline IL) through July 19, and more information and tickets are available by calling (563)284-2350 and visiting TheBlackBoxTheatre.com.