NEW YORK—The harsh realities of alcoholism and drug addiction is a strange choice for a musical, but writer Michael Levin makes a valiant effort with “Sober Songs,” currently at Theatre Row.
Once a week, a group of recovering alcoholics gather in a church basement in Brooklyn, New York. The meeting is run by the no-nonsense Cap (Bernard Holcomb), who has been sober since before the younger members were born. The group is like a family unit, with each member facing their daily struggle for sobriety while trying to reconcile past actions with attempts to begin anew.
The newest member, a handsome young man named Dean (Henry Ryeder) is a celebrity. He’s a guitar player from New Jersey, who’s been hailed as the next Bruce Springsteen and currently towers over Times Square via a gigantic billboard underwear ad. Dean’s future seemed to have no limits until he was fired from a starring role in a Broadway musical after he passed out drunk in his dressing room.
Dean is certainly embarrassed by what he has done and wants to make amends, yet it’s not long before it feels as if he’s not taking the situation all that seriously. He may be saying all the right things, but he doesn’t seem to understand the level of commitment necessary to follow through. This is especially so when he’s faced with outside situations he cannot control.
A further complication for Dean is his rapidly developing romance with fellow alcoholic Angie (Melanie Carrié). Cap frowns on such relationships until those in question have been sober for at least a year.
Dean also develops a strong friendship with group member Roque (Jason Fio). Roque, despite his jovial comments, sees himself as a loser destined to succumb to his own demons, no matter how much support he receives from others, including his companion Nina (Jocelyn Darci Trimmer), who is also a member of the group.
Unsteady on Its Feet
The show contains a healthy offering of one-liners that each carry a bitter truth about the damage addiction leaves in its wake: “Denial stands for ‘Don’t even notice I am lying’” and “The disease wants you dead. But it’ll settle for you being miserable.”
Levin however, who has written the book, music, and lyrics, seems unsure of what exactly he wants his work to be. The story veers from a frank look at a serious subject to hints of a romantic comedy and could actually work either way, with no songs at all.
It doesn’t help that much of the first act contains indications as to where the story is going. The question thus becomes not if someone will fall off the sobriety wagon, but rather who and when. This feeling weakens the suspense the show is trying to build.
Act Two conversely, is much darker as the characters try to regroup after a devasting tragedy. The results of this leans into the show’s core message: Each person is responsible for his or her own actions and you cannot help anyone who does not want to be helped, no matter how many offers of assistance are extended.
Levin takes great pains to avoid platitudes about the dangers of addiction and drink. Instead, he lets the show’s hard truths unfold with a quiet ferocity. When Dean decides to start his rehabilitation the coming Monday instead of immediately, Cap responds, “The cemeteries are filled with people who were going to start over on Monday.”
The musical numbers are enjoyable, with “Three Drinks From Normal” being one of the standouts. However, several of the songs don’t go on long enough or provide enough information about the character singing them to work as well as they should.
Holcomb is the standout in the cast. The actor imbues Cap with an air of determined resignation, knowing that he can’t change his own past despite how he might wish he could. Cap’s desire to help the group makes the character a steadying force; he’s someone who has earned their attention and respect.
Ryeder does well as Dean, who always manages to let his inner swager show through, even as he is trying to convince everyone else, including himself, of the success of his sobriety journey. Flo is particularly good as Roque, a man seemingly bent on self-destruction, yet at the same time always within reach of help, should he ever decide to seek it. Chris Mackin’s direction keeps the production moving well.
Despite its sometimes disconcerting tonal shits, “Sober Songs” carries an important message. One well worth repeating, no matter how many times one has heard it before.
‘Sober Songs’
Theatre Row (Theatre Three)
410 W. 42nd St., New York
Tickets: 212-714-2442, ext. 45 or BFANY.org
Running Time: 2 hours, 15 minutes (one intermission)
Closes: Sept. 28, 2025
Judd Hollander is a reviewer for stagebuzz.com and a member of the Drama Desk and Outer Critics Circle.
