Spring Awakening

Interest in the themes of teenage sexuality, homosexuality, masturbation and suicide comes and goes. So it is with Spring Awakening, based on the original play written by Frank Wedekind in 1891. When ExitLeft recently presented the musical (produced in the style of the Broadway production) in Hobart, the high energy and emotionally charged show was billed thus: “Once in a generation, a new musical comes along and changes everything.” Although Spring Awakening was first performed more than a century ago, its themes are still fresh and new. A mother of teenage daughters said: “what’s changed since the 50’s?” Although the themes of sexuality and repression are confronting, this was pure entertainment. Director Robert Jarman and the superb cast of graduates from Exit Left crafted a beautiful show.

The young and talented cast showed mastery of difficult topics, operating as a wonderfully cohesive ensemble. While many of the performers in this show shone as individuals, director Jarman maintained control and discipline throughout, with delicate attention to detail. So who to praise in such a balanced team production, when every performer excelled? Ben Paine, barely out of his teens and already a seasoned actor and singer, was a brilliant Melchior Gabor. Mallory Butters, with her beautiful voice and enchanting stage presence, played the role of tragic girl Wendla Bergman with tenderness and believability. The entire cast of boy/girl choruses was excellent: every member added strength to the whole with their individuality. I am already a big fan of young Ella Burns. This girl is fabulous in every way. The adult man and the adult woman parts were played brilliantly by Chelle Burtt (five roles) and Andrew Casey (nine roles). Finally, congratulations to musical director Ian Williams, for nurturing and developing these fine, talented young performers over so many years.

Merlene Abbott