REVIEW: Songs for a New World - QAEMT

Songs for a New World

Presented by Queensland Academy of Excellence in Musical Theatre (QAEMT) at Griffith University

Performed at Queensland Performing Arts Centre (QPAC)

Music & Lyrics: Jason Robert Brown

Director: Dr Elise Greig

Musical Director: Brett Sturdy

Choreographer: Dan Venz

Music Supervisor: Heidi Loveland

Lighting Designer: Keith Clark

Band: Brett Sturdy (Keys), Archie Loveland (Guitar). Lucas Harm (Percussion)

Photography: PIF Productions

Songs for a New World sees emerging artists step into material that truly demands everything from them. It asks performers to leap emotionally and vocally without the safety net of a traditional narrative arc. This QAEMT cohort rose to that challenge with impressive maturity. This second-year showcase felt less like a student production and more like a company of artists already poised on the brink of their own “new world.”

Rather than a linear plot, the show presents a series of moments. It offers glimpses of people on the brink of change, exploring themes of love and loss, faith and fear, optimism and cynicism. It does not tie everything up neatly, but instead invites us to sit in that uncertainty and recognise the beauty in beginning again. That feeling of standing on the edge was beautifully captured by the entire ensemble. Every performer was giving “wistful”, and I mean that in the most complimentary way possible!

The design aesthetic was clean and cohesive, with a simple clothing palette of layered browns, blues, blacks and whites that worked beautifully across all the different stories. Some Americana-inspired props added detail to suggest place without cluttering the stage. And a small but genuinely impactful detail to me: the consistently tidy hair styling across the cast. It might seem minor, but it really adds to the overall polish and professionalism in a noticeable way.

As the cast boarded the metaphorical ship and moved into the opening number “The New World”, there was a strong sense of everyone stepping into the same journey together. Ned Kelly’s solo emerged seamlessly from that swell, supported by the full-company sound behind him, while Lucas Harm’s live percussion anchored the moment with a subtle sense of propulsion.

You could really feel the musical direction from the get go, especially in the way the dynamics were shaped; building organically into genuinely goosebump-worthy moments. For a Jason Robert Brown score, the harmonic complexity alone requires incredibly sharp musicianship. The band delivered rhythmic drive throughout, never overpowering the vocals, which is so important in a show like this.

“On the Deck of a Spanish Sailing Ship, 1492” - Ned Kelly set the tone early with a voice full of emotion. There was something very honest about his sense of storytelling.

“Just One Step” - Addisyn Herndon spiralled through this number, in the best way. This was chaotic, unhinged, slightly terrifying energy, perched on that bench while Alessia Charman, Priya Gill and Hannah Mohr circled as her ever-supportive (or enabling) muses. Controlled mania is such a specific skill and they all nailed it.

“I’m Not Afraid of Anything” - Lottie Smith and Aarya Doolabh gave us a beautiful take on motherhood. Lottie, in particular, has a literal sparkle in her eye when she performs. It’s not forced, it’s just there to naturally draw you in.

“The River Won’t Flow” – My favourite group number of the show. I don’t quite know how to explain it, except that I felt like a female bird watching this. The masc company, led by Caelan McCarthy (giving strong Heath Ledger lookalike), had this effortless leading-man energy, with Lucas Harm adding a beautifully raspy tone. The staging had so much life to it, full of movement, humour and depth.

“Steam Train” - AJ Betts and Harry Ince led a high-energy, choreographically demanding number that was impossible not to bop along to, complete with a basketball prop and a moment of enthusiastic commitment that may have slightly collided with a stage light. It happens.

“Christmas Lullaby” - A really lovely reset in the middle of the show. Priya Gill, Hannah Mohr and Tayler Ramsay delivered this with a sincerity that let the emotion speak softly.

“Stars and the Moon” - The femmes came together for this one to deliver power and heartbreak. The harmonies were confident and well-balanced in a deceptively challenging number.

“She Cries” - Sam Thomas and Lachlan Dunks created an intimate connection with the audience through direct eye contact. It made the whole moment feel a bit more exposed and intimate in a way that really suited the song.

“Surabaya Santa” - The unexpected comedic highlight. Zoe Allsopp Lander strutted in with full Mrs Claus-meets-Roxie Hart energy, belting like an absolute weapon while navigating tricky blocking. Plus, an unhinged Saint Nick and sassy elves played by Harry Ince, Sam Thomas and Jackson Hughesman.

“The Flag Maker, 1776” - Alessia Charman, Aarya Doolabh and Zoe Allsopp Lander each brought something completely different here. Tender, desperate and numb, all existing at once. It created this really layered emotional picture that was quietly devastating.

“King of the World” - The only song I knew going in, and perfectly assigned to Saul Kavenagh. His tone carried a Jeremy Jordan-like clarity and ease, while still feeling entirely his own. The control, the build and the payoff were just really exciting to witness.

“Flying Home” - Jackson Hughesman, I was not prepared for that voice! His falsetto floated, the high belts rang out without a hint of tension. Genuinely stunning.

Finale “Hear My Song” - A full-company moment that brought the emotional threads together, reinforcing the show’s themes of hope, uncertainty and new beginnings.

This cohort is involved in every aspect of the production. Stage management, dance captaincy, voice captaincy, dramaturgy, dialect work, costumes, props, sets, projections, social media, program design and photography. Their professionalism extends far beyond performance.

There were a few noticeable adjustments, likely due to injuries or vocal conservation. Although I'm sure these were handled with care, and the adaptability only highlighted the strength of the ensemble as a team. The audience was filled with QAEMT graduates who were absolutely living for every riff, belt and harmony. The pride in the room was undeniable.

This production captures the heart of the show. Hopeful and wary. Brave and uncertain. Bright and bruised. It is not plot-driven theatre. It is emotional, reflective storytelling, and this group clearly understood that. Watching these artists stand onstage singing about stepping into the unknown, knowing they themselves are on the verge of doing exactly that, felt beautifully meta. I look forward to seeing their next performance!