Spring Awakening
In the three years that have passed since Spring Awakening debuted Off-Broadway with its original run at the Atlantic Theatre Company, the show has shaken up the equation of what quality theatre is, who goes to it and why it matters. These three things, which are always important, are especially crucial in these economic times, as many theater companies struggle to remain afloat and introduce new, young theatergoers to the fold with material that entertains but doesn’t insult your intelligence.
As one entered the Ford Oriental Theatre to catch a performance of the national touring production of the rock musical, with music written by Duncan Sheik and book and lyrics by Steven Sater, one could not help but be struck by the widely varying audience demographic unusual in today’s theater world. They carried a palpable air of excitement and anticipation; ready for something magical.
And, for the most part, the show delivered as expected. Based on the 1891 play by Frank Wedekind, the 2007 Tony-winning show was at once chilling and electrifying, thrilling and touching, as it followed the experiences of a group of adolescents discovering and coming to terms with sexuality in 19th Century Germany. Directed by Michael Mayer, the production has very few misses, and leaves the audience satisfied... and maybe even a little aroused with its sexually-charged content.
The cast is impressive, notably Christy Altomare as Wendla, Steffi D as Ilse and Blake Bashoff, reprising his Broadway role as the wild-haired Moritz. Altomare’s performance captures the endearing innocence and naivety intended for the female lead role. Steffi D’s role as a muse of sorts is precociously wide-eyed; the actor has both an amazing presence and voice. Finally, it is hard to picture anyone else but Bashoff in his role. Put simply, he owns it.
As the male lead Melchior, Jake Epstein still has a little ways to go to match the level of ease with which the rest of his cast mates perform, which makes sense given that Chicago is only Epstein’s second stop with the tour, having replaced Kyle Riabko earlier this summer. At times, his voice lacked the power and sureness of his counterparts, but it seems likely this will continue to bloom with time as he gains mileage in the role.
Beyond the obvious abilities of the cast’s individual members, the show’s true strength lies in its ensemble, as evidenced by "The Bitch of Living" and "Totally ****ed," the show’s stand-out numbers. The choreography by Bill T. Jones is tight and well-executed, showcased by a simple, yet well-lit set design. And of course, the music is first-rate, the product of brilliant songwriting and lush orchestrations delivered by an incredibly talented on-stage band.
Well-deserved praises aside, it is not hard to see why the original production’s development time took seven years. Its content is not the sort of things that typically drives audiences out to buy tickets in droves, and the overall message remains to be somewhat of a downer despite obvious efforts to remedy a depressing aftertaste. There are a few too many slow, sad numbers. One attempt for comedic relief - the gay subplot between Hanschen and Ernst - is less amusing than awkward. One has to wonder why the gay plot line must serve as the comedy side-show to the more "serious" heterosexual story?
Despite this pitfall, Spring Awakening on the whole remains undeniably impressive, incredibly fresh and free of musical theater cliches, though the subject matter is centuries old. If you haven’t had the chance to see it yet, certainly make it a point to do so.
’Spring Awakening’ continues its limited run at the Ford Oriental Theatre, 151 W. Randolph, through Sunday, August 16. Tickets are available at www.broadwayinchicago.com or by calling (312) 977-1710.
