Spring Awakening

Based on Frank Wedekind’s 1891 play of the same name, Duncan Sheik and Steven Sater’s alt rock musical Spring Awakening spoke to a generation of young theatregoers who felt unheard and misunderstood. From platforming rising stars who’d become household names including Jonathan Groff, Lea Michele and Skylar Astin to an acclaimed revival by Deaf West, its impact on theatre can still be felt today as evidenced by the other musicals aimed at teens followed and the West Emd 15th anniversary concert this June (which I’m beyond frustrated I missed).

As part of Taylor Jay Productions’ Platform Programme, Spring Awakening has staged a brand new production at the Phoenix Arts Club. So was it like listening to a song of purple summer, or did it feel like a bitch to watch?

I was gifted a ticket in exchange for an honest review. All thoughts and opinions are my own.

Cast

Melchior Gabor: Elliot Butler
Mortiz Stiefel: Callum Bultitude
Wendla Bergmann: Olivia Mae Ward
Ilse: Rowan MacPhearson
Marta: Ailbhe Cooke
Georg: Marcus Collick
Hanschen: Jack Arnold
Ernst: Charlie Dougal
Adult Man: Eoin Callaghan
Adult Woman: Noa Shakhar

Rating: ★★★

What is Spring Awakening about?

Set in 19th century Germany in a world where the adults call the shots, a group of teenagers are going through a sexual awakening. These include radical thinker Melchior Gabor questioning the status quo, Moritz Stiefel having trouble with his sexual desires while dealing with mental health struggles, and Wendla Bergmann wanting to learn more about the facts of life from a mother who refuses to tell her the truth.

What are my thoughts on Spring Awakening?

Spring Awakening remains so relevant over 15 years later as the younger generation can feel scared to ask the harder questions to their elders and end up feeling forced to deal with growing up on their own. Duncan Sheik and Steven Sater’s book, music and lyrics help make its young characters be seen and heard as fully rounded people while capturing the humour and pain of their situations. This production stays faithful to the message and gets the chance to rock out while doing it, with Tara Noonan’s direction and Meadhbh Lyon’s choreography adding plenty of energy to songs like The Bitch of Living and Totally F*cked while handling the story’s heavy themes with the sensitivity they need.

While painting similar strokes to previous productions of Spring Awakening, Ryan Webster’s immersive set captures the intimacy in an abandoned cabaret club with wheat in bale sacks and a water pump on a thrust stage and a circle stage in the centre to indicate the time frame. It’s sad we didn’t get the concept art in the programme as a more edgy abandoned nightclub, but Webster’s costumes stay faithful to the original Broadway/West End production while including an interesting surprise at the end.

Unfortunately one issue that plagued the performance I attended was the sound. From microphones being off altogether to loud cracking and feedback noise, it became a distraction during the show’s more emotionally heavy moments. Nobody is at fault for this and I understand having limited rehearsal time for certain technical aspects, but when I’m attending a performance to judge elements of its acting, book/lyrics and singing, it would make things much easier if I was able to hear them.

What’s the cast like?

This production of Spring Awakening is comprised of rising musical theatre actors who I must immediately commend for soldiering on with their several sound issues. Melchior could have come across as self righteous in his beliefs if in the wrong hands, but Elliot Butler makes his naivete clear as he learns the consequences of his actions. Olivia Mae Ward as Wendla. While I didn’t feel the romantic chemistry and one certain act felt more dubious in its consent, but it made for an interesting spin compared to other interpretations. Callum Bultitude at first leans into the comedy of Moritz’s struggles, but the pain he reveals becomes heartbreaking yet all too relateable in act two.

Rowan MacPherson’s (who I had the pleasure of seeing make her professional debut covering Jasmine in Babies at the Other Palace) Ilse was a highlight with stunning vocals in her take on Blue Wind and whimsical energy concealing the darkness of her situation as she lurks around the bar as a literal outsider. Jack Arnold’s Hanschen was also a joy in his reprise of World of My Body while Ailbhe Cooke brings a hard rock voice and anger to Marta in The Dark I Know Well. Noa Shakhur and Eoin Callaghan nail their difficult task of playing multiple adult roles with ease, making them distinct from each other while feeling the same as a representation of society at large.

What are my overall thoughts?

While not breaking new grounds and having technical issues that hindered me from being fully immersed in it, there’s enough to enjoy in this Spring Awakening for fans familiar with the show. The ideal musical to showcase a cast of rising talent who I’m sure will move on to bigger things, it’s easy to understand why Taylor Jay Productions chose Spring Awakening as a springboard for their Platform Programme to help performers and creatives work on a professional show. I’m excited to see what happens next for them and how their shows evolve and develop because this sort of initiative feels sorely needed in this time for theatre.

Spring Awakening concludes it’s run on August 25th. For more information on other shows at the Phoenix Arts Club, visit their website.