It is not at all news that theatre stages throughout the world have been dark and empty since the outbreak of COVID 19 and the rise of this virus to pandemic proportions, but it is also a redeeming fact that an incredible number of theater companies has begun to reinvent the collaborative art form, hoping to reach their audience through streaming, and attempt to keep their artists working. One notable example is the production of “Songs for a New World” by Jason Robert Brown and directed with ingenuity for San Francisco Playhouse by Bill English. This was Mr. Brown’s first work created three years before his celebrated musical “Parade” for which he won his first TONY award. It has all the marks of a new composer entering the theatre scene with a sort of “tip of the hat” to music legends from Kurt Weil to Stephen Sondheim, and a fresh bold way of telling stories through the lyrics of his songs.

Mr. English has approached his task using a familiar technique seen in music videos, recording each of the singers in separate studios, mixing their voices, and staging the production with the actors lip-syncing. The result lies somewhere between a movie musical and a long music video. Using three cameras certainly produces a finely tuned finished product with careful editing of several different angles, close-ups, and long shots. This works mainly because this particular work actually becomes better when the focus zeros in on the music, lyrics and vocals, rather than extravagant sets and costumes. Also, the actors hardly ever have to interact because the songs are their own internal viewpoint.

The cast featuring John Paul Gonzalez, Cate Hayman, Rodney Earl Jackson Jr. and Katrina Lauren McGraw handles the proceedings remarkably. Their vocal ability has a wide range and soars in solo numbers and blends pleasantly when fused together. Another facet of this timely tactic is the fact that the actor does not have to focus on the notes and can devote more time to interpreting the lyrics and developing an emotional connection. It is not better, simply different, because one of the joys of watching live musical theater is the emotional power of the music that drives the actor to emote. It might always be in the back of the actors’ minds that they are not actually singing, so the result may be more technique rather than spontaneous. Even though there may be many pitfalls, this is truly a valiant attempt to bring some musical theater back into our lives during this challenging time.

The cast is supported with a dramatic lighting design by Heather Kenyon, costumes by Stephanie Dittbern, choreography by Nicole Helfer, and excellent music direction by Dave Dobrusky. If you are feeling some withdrawal pains from the lack of live musical theatre, I suggest you look into viewing this new incarnation featuring an exceptionally talented group of artists. This production may be streamed until December 31^st at http://www.sfplayhouse.org. Tickets are required.