Arts

It’s difficult to call a show flawless, but musician-activist Chadwick Stokes’ “1972” delivers something truly special through a blend of live music and deeply emotional storytelling.

The ensemble casually walks onto the stage, picking up the instruments and beginning to play. Almost immediately, their voices join in, blending with the music as the opening number begins. 

The audience bobs their heads along to the upbeat songs, but wipes away tears during the more heartbreaking moments. It’s the kind of production that’s difficult to explain to someone who wasn’t there to experience it. 

Sherborn native musician-activist Chadwick Stokes’ rock opera “1972” has made its world premiere at Cambridge’s American Repertory Theater at Farkas Hall. Running approximately 80 minutes with no intermission, the production faced the challenge of keeping audiences engaged throughout. Somehow, it never lost its momentum. 

“1972” is directed by Jessie Nelson, who wrote the book for the hit Broadway musical “Waitress.” The show follows 19-year-old Hannah as she escapes an abusive relationship and searches to terminate an unwanted pregnancy, months before the Supreme Court’s Roe v. Wade decision legalized abortion in the U.S. in 1973. 

Stokes plays Depot, one of the three men Hannah befriends along her journey. Stokes delivered a strong vocal performance that anchors much of the male ensemble’s sound.  

Spoken dialogue is limited throughout the production, allowing the music to carry much of the storytelling. It’s a decision that works particularly well given the strength of the ensemble’s vocals. 

Gracie McGraw’s (Hannah) vocal performance is one of production’s biggest assets. She moves effortlessly between soaring numbers and quieter, vulnerable moments. Her acting is equally compelling, as she establishes an unusual intimacy with the audience. She somehow made Hannah feel less like a character onstage and more like someone sharing her story with a room full of friends. 

Much of that emotional connection comes from the musical lineup. The songs shift between fast-paced and slow, rebellious and melancholic, creating a balance that keeps the production moving but also reinforces the story’s emotional weight. Despite its historical setting, the themes feel immediate and relatable, leaving the audience with plenty to think about long after the final number.

“1972” is not a traditional musical. Its props are limited, and the production relies less on elaborate choreography or scene changes than on its musicians and performers. Instead, it feels like an intimate concert with a story at its center, one that asks audiences to listen as much as they watch.

The set, designed to resemble a railroad boxcar, is simple but effective. Performers climb ladders along its sides, making use of the limited space without distracting from the music. Colorful lighting adds visual movement, while vivid background projections help establish the period. Newspapers and other historical imagery are particularly effective, grounding the story in the political and social realities of the early 1970s.

Costume designer Nicole Jescinth Smith incorporated bell-bottoms, midi-length prairie dresses, and floral patterns, which captured the era’s bohemian and hippie influences without feeling excessive. 

But the costumes could have done more to distinguish the show’s many characters. During quick transitions, performers sometimes signal a new role with little more than an added blazer. While the simplicity fits the production’s stripped-down style, more distinctive costume details could have helped the audience identify different characters. 

Where the production never falters is its cast.

Darren Buck, who predominantly plays Eddy, and Will Urmston, who plays Pinto — two friends who befriend Hannah — bring an indie-folk sound with hints of rock that fits naturally into the production. The three had a remarkable chemistry, one that makes their characters’ friendship feel authentic.

Jackera Davis plays Louisa, a young girl who dreams of traveling to space and whom Hannah encounters while trying to obtain an illegal abortion. Davis brings an innocence to the character that makes her storyline especially heartbreaking. Her performance is both vocally striking and emotionally effective, with her scenes among the production’s most memorable.

Britney King provides violin accompaniment while also playing Jane, adding beautiful harmonies throughout the show. At one point, a string on her violin broke. Rather than allowing the mishap to interrupt the performance, King continues without missing a beat. It was a small but memorable demonstration of the ensemble’s professionalism.

Jr King is equally impressive behind the drums. His ability to maintain the instrument’s intensity while delivering powerful vocals is a standout feature of the production. 

That combination of live instrumentation and singing is what makes the ensemble impressive: Performers aren’t singing along to a backing track but are creating the music themselves while simultaneously bringing the story to life.

And if it’s any indication of how well the show has been received, its run has been extended through Dec. 6, two weeks beyond its originally scheduled Nov. 22 closing date, due to demand.

After a bow, the cast returns for one final song. The audience remains standing, finishing the performance not just as a theater production, but as the concert it has felt like all along. 

“1972” will be playing at the Farkas Hall in Cambridge through Dec. 6. Tickets start at $45 and can be purchased here.

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