Like many versions of the American Dream, the “pack your bags and move to New York City to become a star” variety is profoundly hard to achieve—and Encore Theatre’s world premiere production of the musical New World Comin’ takes those challenges seriously.

Written by Dayle Ann Hunt, and set in the turbulent late '60s and early '70s, New World Comin’ focuses on a trio of young women who decide to leave Moosetown, Minnesota, to compete in a music contest in New York. Mickey (Charly Dannis), the leader of the Carlettes, helps out at her widowed dad’s (David Moan) gas station but feels extra motivated to try because her mom once left her own singing career behind to raise Mickey. Sharon (Kira Whitehead), tired of dealing with her small town’s racism, is the most anxious to leave and start a new chapter; and Bonnie Lou (Gabriella Palminteri) is torn, both because she genuinely likes Moosetown, and because Eddie (Shaun White), her mechanic boyfriend, is getting more serious about their relationship.

Drawing from the era’s catalog of pop songs (sung by Petula Clark, Cass Elliot, Lesley Gore, etc.), New World Comin’ chronicles the women’s complicated, hard journey not just from Moosetown to New York City, but from youth into self-directed adulthood.

But like the road from the Midwest to the Big Apple, New World Comin’ doesn’t always run smooth. Indications of the passage of time often feel self-conscious and clunky (we see the women briefly sleep at a campground, they hurriedly arrive for sound checks at a New York cafe over the course of a year, etc.); we get a significant glimpse at Mickey’s and Bonnie’s backstory, but Sharon’s is left vague (yes, this makes some sense given the show’s narrative trajectory, but it nonetheless feels lopsided, since there are only three main characters); and when the women get to talking about feminism, the conversation feels more preachy than organic.

The era was, like our current age, one of great social unrest and upheaval, and the pop songs, gorgeously arranged by Seth Farber, always fit within the show’s story—but even when something fits, that doesn’t mean it necessarily earns its place or works to advance or deepen the story. In some cases, the songs even work against the show’s aims. “Oh, Babe, What Would You Say,” for instance, with lyrics like, “I know I could be so in love with you/ And I know that I could make you love me, too” comes off sounding like two people talking themselves into a relationship instead of a young couple consumed by love. And just as the women decide to go to New York and run toward their future, they perform one last time in their hometown with “Mr. Sandman,” which they’d previously performed as young kids. The choice doesn’t feel right, tonally, just as the show’s finale, Cass Elliot’s “New World Coming,” doesn’t seem like a satisfying, definitive landing point. (Maybe the Carlettes should sing that song before they leave town?)

All that having been said, though, Encore’s production sounds and looks great. Director/choreographer Terry Berliner keeps the show’s energy/pace brisk without ever making it feel rushed. The three leads—plus Mariah Colby, who plays various roles, including the fourth Carlette who gets picked up along the way—convey the perfect blend of youthful naiveté and hubris while delivering powerhouse harmonies. And although it’s hard to shift from sweet, caring father to sleazy dive-bar owner (while also providing key vocal backup), Moan somehow makes it all look easy. Finally, White makes Eddie a kind of lovable rube who has to evolve in a hurry, thanks to his girlfriend’s talent, drive, and dreams.

Sarah Tanner’s set plays host to Anne Donevan’s pitch-perfect props (car seats, a mobile tool cabinet, etc.) to complete the illusion of different kinds of places. It provides just the right visual backdrop, using Mr. Cooper’s gas station as the story’s base layer; Marilee Dechart’s costumes subtly, visually transport us to the '60s without coming on too strong; Joseph R. Walls’ lighting design keeps our attention, and the mood, focused; and Chris Goosman’s sound design offers a well-balanced musical experience.

In the end, New World Comin’ feels akin to the story of many young, starry-eyed performers who flee to New York City to test their artistic mettle: there’s solid potential and promise there, but it’s not quite ready for the spotlight.

Jenn McKee is a former staff arts reporter for The Ann Arbor News, where she primarily covered theater and film events, and also wrote general features and occasional articles on books and music.

"New World Comin'" runs through September 22 at Encore Theatre, 7714 Ann Arbor Street, Dexter. Visit theencoretheatre.org for tickets, showtimes, and more info.