There's a Moment You Know...

Date of Performance: October 14 evening performance
By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Alexandra Socha (u,Wendla), Brian Charles Johnson (u,Moritz), Lauren Pritchard (Ilse), Lilli Cooper (Martha), Eryn Murman (Anna), Remy Zaken (Thea), Matt Doyle (u,Otto), Jonathan B. Wright (Hanschen), Jesse Swenson (u, Georg), Blake Daniel (Ernst), Stephen Spinella (Adult men), Christine Estabrook (Adult women), Gerard Canonico (ensemble), Jennifer Damiano



...you're not at just any Broadway show. And that moment comes the second you step up to the Eugene O'Neill theater. The crowd is a mixture of die hard fans, known as "guilty ones," and people interested in seeing the 2007 Best Musical Tony winner for themselves. The show has been buzzed about since its off Broadway run at the Atlantic. So does it live up to the hype? Is it really that good?



Absolutely. It actually is.


Based on an 1891 play written by Frank Wedekind, Spring Awakening explores the adolescent experience and sexual morality of German adolescents. Originally banned because of its sexual content and social criticism, the source material is not necessarily an obvious choice for a musical. However, it works beautifully, and its sensitive, honest depiction of coming of age makes for a transcendent, intense night at the theater.

What the production does especially well is make sex mysterious again. This is the age where Britneys and Lindseys expose themselves, where Carrie Bradshaw reigns supreme, where some teenagers flippantly assess their sexual conquests and openly discuss their needs and wants. So how does the show make a connection between the teens of the 1800s and the teens of today? It pinpoints that awkward time in adolescence when we first become aware of our sexual desires, when urges, questions, and doubts cloud our thoughts and when, on the cusp of adulthood, we begin to challenge and question the world around us and yearn for knowledge and understanding.

The show tackles some heavy subjects like suicide and abuse but also looks at parent-child dynamics and first crushes. It makes the transitions from one subject to another smoothly. What is particularly interesting here are the characters and the actors who portray them. It's easy to see a lot of ourselves in them, especially in the main trio. Fascinating Melchior, played brilliantly by Jonathan Groff (who in person could not be more different than his character) is the kind of person we have all wanted to be at some point. Thea, one of the schoolgirls in the show, marvels at his rebellious nature, and it's no wonder. Melchior stands up for what he believes in, he's brash, he's intelligent, he's a fighter. Unwilling to blindly accept everything he's told, he encourages those around him to ask questions as well. He's a bit of a smart aleck, but at the same time, he is extremely sensitive-- his feelings for lover Wendla and friend Moritz run deep. In the hands of a less talented actor, Melchior could be a one note character, but Groff really develops an interesting arc; Melchior is angry and sullen, but he is vulnerable too and even more importantly, he makes mistakes. Groff fully commits to the character and at one point, sings, "You watch me, just watch me, I'm callin, and one day all will know." Well, one day, hopefully all will know about Groff. He has the potential to have an incredibly interesting career. Melchior's best friend Moritz, originally played by John Gallagher Jr and played by Brian Charles Johnson in the performance I saw, is brimming with nervous energy. Moritz struggles with school, with his father, and with his emerging hormones and becomes so overwhelmed and hopeless that he makes an extreme choice. Moritz oozes angst in every way and his pain is our pain. Fragile Wendla, the first character we meet in the show, wants so badly to break out of her innocent, sheltered existence. She wonders where babies come from, what it feels like to be beaten, and claims she's "never felt...anything." She longs to grow up and not be a child anymore; unfortunately her mother has not adequately prepared her for the realities of being an adult. At the performance I attended, Alexandra Socha was in for Lea Michele, and she gave a solid performance. Aided by her youthful appearance, she was able to capture the full degree of Wendla's naivete, though I will admit that the age/physical mismatch of her and Groff was a little unsettling.
The rest of the cast is remarkably strong; there's really not a weak link to be found. Eryn Murman's religious, rule abiding Anna is fascinating, Johnny B. Wright's bombastic Hanschen was hilarious and creepy at the same time, wide eyed Remy Zaken perfectly captured Thea, a girl dizzied by a crush, and Lilli Cooper as Marthe was remarkable. Cooper, lauded for her consistency really is remarkably talented. Still a high school student, she makes me feel like I have accomplished absolutely nothing in my life. I sat directly in front of her in the front row and was impressed by her overall intensity and her tears in "Left Behind." (And my mother thought she had the most amazing skin...but that's my mother for you.) Blake Daniel, who had the tough task of being the first replacement for an original company member, was endearing as Ernst and his voice was absolutely beautiful. I'd heard a lot about the so-so acting of Lauren Pritchard, who plays bohemian Ilse, but I honestly found no fault with her. Her moody, soulful voice is beautiful and adds a layer of sadness to free spirited, ethereal Ilse . I sadly missed out on Skylar Astin and Phoebe Strole, who were out filming Hamlet 2 , but I did get to see swings Jesse Swenson and Matt Doyle. As silly as it sounds, I am convinced Matt Doyle can do no wrong and Jesse was fine--not bad, but not great either.. Sitting among audience members, Jennifer Damiano and Gerard Canonico (who I'm convinced never stops moving) also gave good performances. One of the special things about this show is that it doesn't suffer when understudies are on--and that's a credit not only to the material, but to the performers as well. It's interesting the read message boards--this is one of those shows where people actually get excited about seeing a swing because they're so interested in different interpretations. Oh yes--and before I forget--my greatest praises go to Stephen Spinella and Christine Estabrook (who some of you might recognize from Desperate Housewives) who play the Adult Man and Woman. Spinella is especially good in the scenes where he portrays Moritz's father; Estabrook shines in her comedic scenes as Wendla's mother and Georg's piano teacher. Each individual, even the ones with limited material, makes a significant contribution to the overall power and beauty of the piece, which exceeds each of the individual contributions.

The real life inspirations for the characters of the show may have suffered in silence during Wedekind's time, but lyricist Steven Sater and composer Duncan Sheik gives them a voice in the form of electric rock music and haunting melodies, and raw, energetic numbers like "Bitch of Living" are just as relevant as the delicate "Left Behind" tribute. The juxtaposition between the two different time periods is striking and effective. And though it is unorthodox to see a young boy in a stiff jacket and breeches pull out a handheld microphone and sing a song like "Totally F****d," it makes absolute sense at the same time. Have we not all at some point felt that same kind of exasperation? And furthermore, don't most of us have a small part inside of us that wants to be a rock star? I doubt I'm the only one that has jumped around my room using hairbrushes and remotes as makeshift mikes. Though the teens of the 1800s did not have the benefit of stereos, microphones etc., it is reasonable to assume that they still had an inherent desire to express themselves. The score is exquisitely beautiful, the rhythms addictive, and the arrangements are powerful--it is definitely necessary to experience the music live; the cast recording doesn't do it justice.

Music aside, the rest of the production is put together well. The creative team across the board is strong; Kimberly Grigsby, the music director, "rocks out" on stage as she conducts and has to be one of the coolest women around; Christine Jones' essentialist set design is an intriguing choice for a Broadway musical (did I mention that part of the audience gets to sit onstage?); Kevin Adams' light design is gorgeous and rich; Susan Hilferty's costume design is meticulous (for example, though the schoolboys all wear uniforms, each costume has something distinct about it--the kind of boots or amount of embellishment on the jacket.) Props are utilized sparingly and symbolically---Ilse's bouquet of flowers in one scene becomes the flowers for her friend's coffin in a later scene.
My particular favorite was Bill T. Jones' choreography. The slow movements Wendla goes through during the beginning of the show in "Mama Who Bore Me" are echoed throughout until they finally come to a frenetic boiling point in "Totally F****d." There's a sense of controlled chaos to many of the numbers and a stomping motif that almost challenges you to listen to the music and NOT stomp and bob along.
Michael Mayer's direction is wonderful. The first act gradually gains momentum until it finally explodes, appropriate given that this is a show about puberty. Mayer has constructed a mesmerizing show that is a poignant, heartwarming, and complex glimpse into the teenage psyche.

A couple notes though--the show isn't for the prude--it has a masturbation scene, nudity, a sex scene, a kiss between two men...so be prepared. It's not crassly done at all, but it's not G rated. Think twice before bringing Grandma...unless you happen to have a really cool Grandma.


Highlights:
I'm not sure I can pick one--it's wonderful from the very beginning to the wistful "Song of Purple Summer" at the end.


Just go.