A group of youths in provincial Germany experience the thrill of their emerging adulthood and the pain of losing their childhood innocence. This is Spring Awakening with book and lyrics by Steven Sater and music by Duncan Sheik based off of Frank Wedekind’s original play of the same name. It is currently playing at the UNO Theatre.
I’m not familiar with Wedekind’s original play, but have read praise for Sater remaining reasonably faithful to the original work. Wedekind’s tale poses some very challenging ideas and themes that still resonate today. The theme of emerging adulthood takes the form of their sexual awakening and the youths are thrilled and unnerved by the changes taking place within them. However, this awakening comes at a price.
The change into adulthood comes at the cost of their innocence and hope. Even worse, they are ill equipped to handle these changes due to a society of adults which refuses to educate and help them cope with these changes. Instead they label the youths’ burgeoning desires as evil and hypocritically hide their own evil and cruelty to maintain a world that suits their vision.
Sater does a fine job updating Wedekind’s work for a modern audience and Sheik has written a punchy score full of catchy, memorable tunes.
It’s unusual to see two directors at the helm of a show, but Doran Schmidt and Wai Yim do quality work in guiding this musical. Clearly both are on the exact same page with their vision, fusing their unique talents to create a strong show. Their performers know what they are doing with their roles and where they are going. Ms Schmidt’s musical direction is spot on and Yim’s gift for designing movement keeps this story going as there is never a static movement. The actors make full use of the performance space in an effortless and unceasing flow of movement and action.
The supporting cast is skilled and unified. They harmonize well. They play well off each other. All manage to find the ebbs and flows and the humorous and serious moments of the production. But I’d like to single out Bethany Bresnahan for a memorable cameo performance as Ilse. Ms Bresnahan’s Ilse is the lone character who seems to retain her childhood innocence as she transitions into adulthood. She had a dynamic presence, beautiful animation, and a haunting sequence in “Don’t Do Sadness/Blue Wind”.
Ryan McCann is wonderful as Melchior. McCann well plays the duality of this character as Melchior is both the angel and the devil. He is a playful, intelligent wit and loyal friend. But he also has the makings of a fiend within him with his whipping (albeit requested) and possible raping of a childhood friend. Truly, he seems to be the character in the most danger of becoming part of the cruel, hypocritical society he lives in until he finds the strength to overcome it with a little help from his spiritual friends.
McCann’s tenor was in fine form all night. His voice captured all of the important nuances both musically and orally. He especially shone in “The Guilty Ones”, “Those You’ve Known”, and the night’s best number, “Totally F@!#ed”.
Seldom have I felt the kind of empathy for a character as I did for Nick Jansen’s Moritz. Moritz has pressures on him that few adults could be expected to handle, let alone a child. His parents demand perfection from him. He studies beyond the point of exhaustion. He’s uncomfortable with his new “sticky dreams”. Jansen does superior work in communicating the ever mounting weight on Moritz’s shoulders until he collapses under the pressure. Jansen also has a fine tenor and falsetto best utilized in “Don’t Do Sadness/Blue Wind” and “And Then There Were None”.
Roni Shelley-Perez soars as Wendla. Wendla may be the show’s most tragic character as her innocence makes her truly childlike. An overprotective mother refuses to help her understand her transition into adulthood. Her safe lifestyle has rendered her unable to feel, pushing her to request to get whipped by Melchior so she can empathize with a classmate who is routinely beaten by her father. Due to her safety and immaturity, Wendla simply does not know how to protect herself and those who should protect her fail utterly.
Ms Shelley-Perez brilliantly essays the confusion and innocence of Wendla. I was especially impressed with her facial expressions during her moment of intimacy with Melchior which left it beautifully ambiguous as to whether or not it was rape.
Ms Shelley-Perez can also belt out a tune with a monstrously strong soprano in “Mama Who Bore Me” and “The Word of Your Body”.
Steven Williams has designed a simple, yet imposing set of black pillars and balcony with chalk drawings all over it. Audrey Wardian’s lights were incredible with strobe flashes and emotional colors which were all variations of the rainbow leading to subtler shades of meaning. Valerie St Pierre Smith’s costumes invoked the sedate elegance of 19th century school uniforms and clothing.
At this preview night performance, the cast started off a bit hesitantly and quietly. Once they reached “Totally F@!#ed” they were firing on all cylinders and the theatre was overflowing with their confidence and I do believe they are on to something quite magical. Sound also suffered a touch from either microphone issues or dead spots on the stage.
Growing up is hard to do, especially when there isn’t an instruction book or a person with experience to lend a helping hand. Spring Awakening does a dandy job in sharing the difficulty and pain of growing up, but it also leaves a glimmer of hope that the current generation will fix the mistakes of the previous.
Spring Awakening plays at the UNO Theatre in the Weber Fine Arts Building through Dec 2. Showtimes are 7:30pm on Fridays and Saturdays. Tickets cost $16 (a 2nd preview night performance on Nov 16 will be $6). UNO students can attend the show for free. For tickets, call 402-554-PLAY or visit www.unomaha.edu/unotheatre. Due to strong language and sensitive themes, Spring Awakening is not suitable for children. The UNO Theatre is located at 6001 Dodge St in Omaha, NE.