SPRING HAS SPRUNG
Distinguished by its raw emotional resonance, formidable musical composition, and a compelling narrative that plumbs the depths of adolescence, sexuality, and defiance, Spring Awakening, the rock opera adapted from Frank Wedekind’s provocative 19th-century German drama, has held global audiences in thrall since its inaugural performance in 2006. It remains a boldly audacious and emotionally charged musical, continuing to resonate with audiences by virtue of its commanding music, authentic characters, and unapologetic exploration of the labyrinthine realm of adolescence and human sexuality. Though this regional production from East West Players may bear its share of imperfections, it nevertheless is a theatrical experience to be embraced by audiences who have yet to see a live production of this modern classic.
Nestled within a conservative 19th-century German hamlet, the plot unfolds around a cadre of adolescents confronting the challenges of burgeoning into adulthood within a society that stifles their inquiries and desires. Remarkably, despite the period setting, the themes of self-discovery, the quest for autonomy, and the tension between tradition and change resonate as profoundly in contemporary society as they did in yesteryears.
Duncan Sheik‘s musical score, intertwined with Steven Sater‘s poetic lyrical, and roles for young people, Spring Awakening has been a go-to for many companies. It serves as an ascendant force, lending a visceral connection between the audience and the multifaceted characters. Sheik’s contribution boasts a plenitude of entrancing and memorable melodies, with several ascending to the pantheon of showtune standards, including “The Bitch of Living,” “Mama Who Bore Me,” “Totally Fucked,” and “The Dark I know So Well.“ The production’s alternative rock ethos is seasoned with an orchestration infused with strings, often drawing inspiration from the romantic chamber music of the 19th century (Marc Macalintal deftly leads an eight-piece orchestra). Sater’s lyrical stylings, although occasionally afflicted by frustrating false rhymes, (e.g., “sweet and unknown/longing for a home” “all this/my lips”), manifest a poetic flair that elevates the overall composition.
Tim Dang‘s somber staging effectively conveys the intricacies of adolescence and the repercussions of a repressive societal milieu. The youthful, relatively inexperienced cast, while universally proficient in song and movement, often succumb to overwrought emotional expression. An exception to this tendency is Marcus Phillips, who delivers a portrayal of the troubled lad Moritz imbued with an ideal balance of angst and innocence. The portrayals of Wendla and Melchior, played by Mia Sempertegui and Thomas Winter, respectively, showcase commendable stage presence, albeit occasionally marred by overwrought performances that might have benefited from a firmer directorial hand.
The adult roles, embodied by the married real life couple of David Blinkoff and Tamlyn Tomita, regrettably tend towards one-dimensionality, portraying them as Victorian-era horror serial antagonists.
Christopher Scott Murillo‘s set design deftly exploits the spatial confines of the old church, incorporating the building’s arches and stained glass elements. As a poignant nod to the production’s anti-clerical undercurrents, Murillo constructs a decaying church interior, bedecked with the encroaching tendrils of ivy.
Simple choreography by Preston Mui was effective for the non-dance heavy nature of the show. The application of diminutive LED bulbs by lighting designer Derek Jones to illuminate various scenic elements tended to be distracting. JoJo Siu‘s period-inspired “goth” costumes demonstrated character-appropriate tailoring and finesse.
In unswerving candor, Spring Awakening refuses to avert its gaze from the shadows and discomforts of its thematic material. It dares to confront prevailing societal norms and leaves its viewers imbued with a sense of urgency to address the challenges confronting young people today. Moreover, it serves as a prescient parable on the imperativeness of safeguarding abortion rights, especially in the wake of the overturning of Roe v. Wade.
photos by Jenny Graham
Spring Awakening
East West Players
David Henry Hwang Theater, 120 Judge John Aiso Street
ends on November 19, 2023 EXTENDED to December 3, 2023
for tickets, call 213.625.7000 or visit East West Players
