Spring Awakening

Since it premiered on Broadway in 2006 winning eight Tony awards,Spring Awakening has gone onto success after success on international stages. Perhaps not as well-known as its second-cousin Rent, (but in my opinion better and more coherent), this rock musical version of Frank Wedekind’s 1891 German play with its themes of adolescent sexuality, teen suicide, peer-pressure, abortion and homosexuality, still resonates with a contemporary immediacy.

On a bare stage set dominated by a huge tree trunk, a young cast bring explosive energy to this potent hormonal mix of angst and delirious first love.

What elevates the production is Tim Hill’s stunningly effective and focused direction. Particularly admirable was his handling of the ambiguous first act finale with Wendla (Jacqui McLaren) slowly acquiescing to sex from a horned up Melchior (Harrison Aston). It was sensitive and awkward, but honest.

McLaren opened with a lovely and haunting “Mama Who Bore Me” and also scored with “Whispering”, whilst Aston dynamically led the ensemble with the show-stopping “Totally F****d”. Other highlights were Oliver Lacey (Moritz) leading the ensemble with “The Bitch of Living” and his mash-up with Ruby Clark (Ilse) of “Don’t Do Sadness” and “Blue Wind”. Tim Carroll (Hanschen) and Michael Nunn (Ernst) as the experimenting schoolboys had a nice moment of warmth and sweetness with the reprise of “The Word of Your Body”.

As the two adults, in multiple roles as teachers and parents, Elise Greig and James Shaw brought concise vignettes of Victorian authority to this coming-of-age tale.

Deanna Castellana’s arresting choreography was of the stomp/jump variety as used in the original, Wes Bluff’s lighting and Ben Murray’s sound were top of the range and added enormously to the visual and aural experience, while Dominic Woodhead led an off-stage orchestra and two on-stage musicians with perfect synchonisation.

Spring Awakening with its adult and provocative themes may not be to everybody’s taste as a musical, but, whenever I see it I never fail to be moved. Its tragic lovers at the heart of the story are as equally powerful and relatable as Romeo and Juliet. An excellent revival. Well worth a look.

Peter Pinne