It’s not typical for a big musical to leave the houselights up while an ingénue sings her way through the first number, but that’s just one of many elements of the national tour production of Spring Awakening that makes this subdued cast all the more resonant. Focused on a small group of provincial German youth in the late 19th century, the production is an interesting study in both adolescent sexuality and a deconstruction of the American musical.
Spring Awakening never bothers to cover its hand, embracing what might generally be left off-stage. This makes sense in a musical that centres on the often chaotic process of growing into your sexuality. Director Michael Mayer shows the wires by stationing the band in full view onstage, complete with a blackboard set list.
Duncan Sheik’s rock score strikes the perfect mix between angsty radio pop and the narrative transparency that makes a good showtune. Kevin Adams’ gorgeous lighting added the perfect amount of spectacle to an otherwise minimal set. When the stage glows with gem-coloured lights during “Totally Fucked,” it’s thrilling.
Yet the first act sagged a bit, as “My Junk” lacked the up-tempo energy that’s required of such a joyful number. It felt sombre, particularly in contrast to the really grim songs, like “The Dark I Know Well,” a haunting piece about abuse made particularly moving in the hands of Sarah Hunt (Marthe) and Steffi D. (Ilse)—who not only have stunning voices, but the ability to express the emotion of the often obscure lyrics.
That being said, the least compelling aspect of Spring Awakening is the book and lyrics by Steven Sater, which stick with the formal language appropriate to the time period, but don’t always commit to active communication between characters. It’s only when the songs pick up that something gets said.
Repression is one thing, but some of the performers can’t find strong footing when it comes to the dialogue. The exception is a wonderful scene between Ben Moss (Ernst) and Andy Mientus (Hanschen) late in the second act (whew!) that offers a witty and intimate look into the musical’s one gay relationship. The dialogue manages to show the beauty and danger of their romance, as they sing, “Oh, you’re gonna bruise too/Oh, I’m gonna be your bruise.” Dramatically, it’s one of the show’s most moving moments, shifting from the innocence of conversation to the moment when Wendla is handed off to a backroom abortionist from which (spoiler alert!) no good will come.
The transitions are at their best between “Mama Who Bore Me (Reprise)” and a scene in Latin class that fully embraces the layering of time and place, having the boys set up their chairs for the next scene while the singing girls pass through them.
In spite of a few expository gaps and a low-energy rendition of “Totally Fucked,” the national tour production of Spring Awakening succeeds in providing a contemplative and emotionally charged interpretation of this unconventional musical. The sensational quality of the original Broadway production is muted here—these kids project a maturity that seeps through from their personalities—but that only adds to the bittersweet experience of springing from childhood into something a little more dissonant, but equally compelling.
Directed by Michael Mayer.
Starring Christy Altomare,
Matt Doyle, Blake Bashoff
Rating: VVVV
—Naomi Skwarna
