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SPRING AWAKENING AROUSES AUDIENCES
By Tony Reverditto
The winner of eight 2007 Tony Awards - including Best Musical, Best Book, and Best Score - SPRING AWAKENING has been called "the best musical of a generation" (NY Observer when it debuted on Broadway). Spring Awakening - the musical is based on a German play written in the 1890s that was banned because it was too racy. Adapted from Frank Wedekind's play of the same name, has an acclaimed score by Duncan Sheik and Steven Sater, with the book by Steven Sater presenting quite a contemporary twist.
SPRING AWAKENING boldly depicts how a dozen young people make their way through the thrilling, complicated, confusing and mysterious time of their sexual awakening. Unfortunately, the elders want to rain on their parade and do so with tragic outcomes in some cases. SPRING AWAKENING is comparable to RENT, the production was edgy for its time, also racy, provocative, unique, and one of the pioneering rock musicals of the 90s. SPRING AWAKENING is a tragic rock musical, not all rock, but enough that teenagers, fifteen plus, will get into it.
Direction by Tony-Winner, Michael Mayer definitely delivers a steady, almost hypnotic flair to this period piece meshed with a contemporary twist, fluctuating well from the 1890's by stepping outside itself to become a modern day musical theatre production.
In regards to the fresh, young, up-and-coming cast, they did a solid job considering most come with little professional performance experience. Outstanding vocals by Melchior, the rebel (Kyle Riabko) who was the shining star with a well-rounded, colorful performance, the sheltered Wendia (Christy Altomare) an understated effective performance and the misunderstood Moritz (Blake Bashoff) belts out a couple of amazing solos "The Bitch of Living and "Don't Do Sadness". The abused Martha (Sarah Hunt) gives a haunting rendition of "The Dark I Know Well". By far, my favorite aspect of the production was the wonderful blend of singing voices when the entire ensemble sang together. A big shout-out must go to Jared Stein for his sensitivity and insight to the singers, by bringing out these phenomenal vocal performances.
Anthony Lee Medina was given the dubious task of portraying The Adult Men, all with a universal theme of a narrow minded, abusive disciplinary with unsympathetic coldness. Right on his heels, was Angela Reed playing The Adult Women, as repressed, subservient puppets with little room for feminine nurturing, typical of the time. Reed manages to squeeze out some humor through the tough constraints of the characters and dialogue.
Choreography by Bill T. Jones was clever and energetic and he fully utilized the physicality of the youthful performers. The Set Design by Christine Jones certainly conveyed the cold militant brownstone effect, but distracted the feel by putting a mish mash of eclectic pictures and symbols of the time all over the brownstone. Because it was a fixed set with the orchestra upstage, some audience members along the sides of stage left and right on bleachers and the cast interspersed on the stage, it was limited. The interior set presented a challenge for lighting designer, Kevin Adams to create serene outside scenes through lighting on the brownstone interior and I just wasn't feeling it. However, I was feeling excited about the bold and colorful innovative lighting schemes for the rock songs and musical numbers, which contrasted greatly to the stark set. Costume Designer, Susan Hilferty accurately captured the period, with just enough of a modern twist to make the attire appealing. The sound design, orchestrations, and orchestra were right on the money.
So, all in all, I recommend this unique theatrical experience. It is a reminder of how far civilization has progressed, but on some levels how we are still struggling with the same social repression issues. As we left the theatre, an elderly lady put it best, "That was sad story, but it was done well".
Regular Performances through December 7, 2008. Tuesday through Saturday at 8 p.m.; Saturday at 2 p.m.; Sunday at 1 p.m. & 6:30 p.m.
No performances on Mondays.
No evening performances on Thursday, November 27 & Sunday, December 7.
Shows added on Monday, November 24 at 8 p.m. & Thursday, December 4 at 2 p.m.
Ticket Prices: $30 - $100
Hot Tix: $20 each can be purchased in advance or, subject to availability, on the day of performance at the box office (no checks).
Tickets may be purchased by calling Center Theatre Group Audience Services at (213) 628-2772, or in person at the Center Theatre Group box office.
On-line:
www.CenterTheatreGroup.org
Groups: (213) 972-7231.
Deaf community: TDD (213) 680-4017.