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Show: Spring Awakening
Society: Geoids Musical Theatre
Venue: Bridewell Theatre
Credits: Book & Lyrics By Steven Sater / Music by Duncan Sheik / Based on the play by Frank Wedekind
Type: Sardines
Author: Susan Elkin
Performance Date: 07/11/2023
Spring Awakening
Susan Elkin | 08 Nov 2023 21:39pm
Photo: Elizabeth Grace
There is an arresting note of hope in Spring Awakening despite the darkness of its narrative. And, notwithstanding the nineteenth century setting, it’s timeless. That’s probably why, since its Broadway debut fifteen years ago, it has already morphed into a quasi-classic.
The playing space at the Bridewell is roomy in relation to its seating area which allows scope for a large, well spaced cast to work in beautifully choreographed (Rhiannon Hill – deliciously spikey and Brechtian) formations.
Everyone in the cast is, of course, an adolescent in 1890s Germany, All the adults – various parents, teachers and so on – are played by two actors using different voices – Imogen Johnson and Ru Caddell, both excellent. This reinforces the sense that every adult in the lives of these young people is the same. They all lay down rules, refuse to impart information about sex and impose draconian punishments – “Parentocracy” as one character dubs it.
The story depicts two young people who fall in love and have sex although she barely understands what’s happening – she simply feels the attraction. Inevitably, she becomes pregnant without really knowing how or why and dies as the result of a botched abortion. At the same time there’s another young man, so confused by sex and the need to succeed academically that when he “fails” he dies by suicide, and two young men who are attracted to each other. None of these issues have gone away in the 130 years since the setting of this show. There are still young people – especially in certain closed religious sects – who grow up in ignorance and many countries (some American states since the rescinding of Roe v Wade?) where the only sort of termination available is a back street one. So we’re in pretty topical territory and, in this production, which has some exceptionally fine singing, every emotion is highlighted by Duncan Sheik’s evocative music nicely played by a nine piece band, led by Chris Nelson on the side balcony.
It’s a strong cast in which James Warner is outstanding as Melchior. His character is a serious thinker and he delivers that with total conviction as well as singing in a mellifluous tenor voice with warmth, anger and despair. Edie O’Brien delights as his opposite number, Wendla. She finds a virginal, Juliet-like innocence and then injects it with childishness, frustration and, ultimately terror. And her singing voice is variously sweet and edgy. Hers is a finely nuanced performance. Both these actors are new to GEOIDS.
It’s an enjoyable show – sometimes funny, often shocking and always intelligent. Amateur theatre making at its best and well worth catching.