SPRING AWAKENING

A NEW MUSICAL
Part of The Hartford Financial Services Group Broadway Series

Book & Lyrics by Steven Sater

Music by Duncan Sheik

Choreography by Bill T. Jones

Directed by Michael Mayer

The William H. Mortensen Hall
www.bushnell.org
Hartford, Connecticut
February 23 - 28, 2010

23, 24, 25 at 7:30 PM

26 & 27 at 8:00 PM

28 at 2 PM & 7:30 PM

Reviewed by Donna Bailey-Thompson

If in today’s let it all-hang-out society there remain parents who are paralyzed by the thought of having “The Talk” with their pubescence offspring, then treat the family to Spring Awakening which not only entertains but spells out how an absence of knowledge truly is a dangerous thing and how mutual awareness of feelings and phobias can be, literally, life-saving information.

Set in Germany in the early 1900s, this is not a melodic, romanticized Student Prince. Instead, the juxtaposition of time-appropriate costuming along with an often pounding hard rock score illustrates how avant garde playwright Frank Wedekind's play was in Victorian-oppressive 1891 and how more than a century later, today's repressive pockets of thinking are as destructive as ever. Wedekind's unofficial subtitle for his play was "a tragedy of childhood."

The play opens when Wendla (winsome Christy Altomare) takes her place at center stage of Mortensen Hall's huge, wide open maw, steps up onto a chair, faces the audience, and takes stock of herself in a mirror -- a slip of a girl in black stockings that cover her knees topped by a handkerchief-soft outgrown white dress that doesn't reach to her knees. Enter Mama (Angela Reed) who scolds Wendla for, essentially, being a girl. Wendla pleads with her mother to answer questions about where babies come from. The mother's discomfort triggers ripples of laughter. Wendla posits that based upon how delighted people are about the arrival of a new baby, there can't be anything ugly about its origin. The most information Mama can bring herself to share is a married woman has to love only one man, her husband, and she has to really, really, really love him. The mother's cryptic statement leaves her daughter not informed but more bewildered.

The early scenes are deceptively lighthearted. Teenage boys, physically burdened by an abundance of testosterone, give graphic meaning to "raging hormones." Fantasies are acted out in a full-cast crazed musical number that includes a boy piano student going nuts with his bosomy piano teacher (truly laughable). Gradually, the agony of having to deal with a body besieged by alarming modifications forces Moritz (Taylor Trensch) to share his sexual fantasies with Melchior (Jake Epstein) who responds by sharing his wild dreams. Peer validation helps Moritz realize his confusion is not unique.

The dark side of parental control that includes a father's nocturnal visits to a daughter is described by Martha (Sarah Hunt) in the song, The Dark I Know Well: You say all you want is a kiss goodnight/You say the Lord won't mind...Just you and me/I lie there and breathe.

Spring Awakening is an all-encompassing production that stems from playwright Frank Wedekind's genius -- and fearlessness; it is brought to vibrant life by an assemblage of artists. The 21 actors shine individually and/or as complements to the ensemble. The seven musicians rock. Michael Mayer's directing and Bill T. Jones' choreography are outstanding. The set design by Christine Jones is a monumental masterpiece. Costumer Susan Hilferty's creations bring added energy to an historic past. Kevin Adams' lighting designs enhance every moment. Of the eleven Tony nominations Spring Awakening received, eight were awarded. Eight!

Only one scene lacked the same painful degree of emotional tension that I remember from the Broadway production (July 2008) -- when Wendla's mother compels her terrified daughter to enter a doctor's office for an after-hours appointment.

In spite of the advance publicity warnings of "mature content including abortion, death, suicide, sexual situations and strong language," some audience members were not prepared and left at intermission. Overheard was the comment, "The Bushnell would not have done this ten years ago; they've lowered their standards." Overheard in the ladies room was silence. At the play's conclusion, the enthusiastic applause spoke volumes.

Live theater exploring in-your-face human sexuality vs. unnatural inhibitions can't help but arouse a range of emotions, and it is hoped those include an appreciation of what is genuinely comical as well as understanding and compassion for what is shocking, abhorrent and injurious.

RUNNING TIME IS 2 HOURS 15 MINUTES, INCLUDING INTERMISSION.

SPRING AWAKENING

“The most explosive new musical since Rent” -- Michael Sommers, The Star-Ledger

Reviewed by B. K. Grant

Winner of 8 Tony Awards, including Best Musical of 2007, “Spring Awakening” pulls out all the stops to explore puberty, masturbation, incest, teen suicide and abortion. It is a frank, sometimes racy portrayal by a young cast in their late teens and early twenties, undoubtedly bringing memories of their own personal turmoil to the stage.

Uniquely setup with cast, chorus and musical complement tucked neatly into a dynamically designed set, the opening numbers “Mama Who Bore Me” and “The Bitch of Living” clearly reflect the mystery and anxiety of the teen years, which in 1890 Germany were neither dealt with openly nor discussed in private. The first act presents one potent situation after another, leaving one to wonder what would happen next. The saturation of the young mind by sexual “sticky” dreams is evident: “It’s as if the entire world were mesmerized by the penis and vagina!” German youth were left to imagine, experiment, make mistakes and suffer the consequences. Staunch parenting practices focus on the family image rather than their offspring’s emotional wellbeing. Such is this exciting production based on the powerful 1891 play by Frank Wedekind.

The intermission gave this reviewer a chance to catch a breath and ponder what I’d just experienced; I settled back into my seat eager for the second act. The musical statements that followed emphasize the emotional impact of a couple’s first sexual experience “(our bodies are) The Guilty Ones”, and the state of a young mind so overwhelmed by puberty, he is failing his classes “(I) Don’t Do Sadness”, and becomes unable to respond to offers of help.

The combined talents of Steven Sater and Duncan Sheik create a score both hauntingly beautiful and recklessly exciting. Modern musical expression and old world mores and values blend brilliantly to highlight the plight of the misguided and impulsive adolescent. The finale, “The Song of Purple Summer” projects sorrow and encouragement, sending the ultimate message: listen to your children.This show took hold of my heart -- no, my soul -- and didn't let go til well after the last standing O. 

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