Revolution Stage Company’s production of Spring Awakening is not to be missed by anyone who truly loves the theater—so make sure you get tickets to one of the eight performances remaining between this writing and the final performance on Jan. 30.
Numerous musicals feature adolescents as they deal with life’s challenges during those formative years; Bye Bye Birdie, Grease and The 25th Annual Putnam County Spelling Bee are well-known examples. Most have fun plot lines with teens working to overcome the adjustments that puberty brings—punctuated with catchy songs more memorable than the plots. Last year, in its inaugural season, Revolution Stage produced a very enjoyable production of Spelling Bee.
Revolution Stage’s inclusion of Spring Awakening in its second season is an ambitious choice: It is a musical about adolescents, but certainly not with a frivolous story line. The musical is based on a play written in 1891 by German playwright Frank Wedekind. His purpose was to comment on the sexual and social repression held over adolescents within German society: Not having conversations that included sexual information following puberty led to problems in social relationships. Wedekind’s play was so controversial that it was not produced until 15 years after its completion.
The musical Spring Awakening was adapted from Wedekind’s play by Steven Sater, who wrote the book and lyrics; music was composed by Duncan Sheik. They kept the story in the 1890s while incorporating a more contemporary sound; the songs sung by the adolescents depict their inner feelings, which they can’t openly discuss. It opened on Broadway in December 2006 and won eight Tony Awards, including Best Musical, Best Book of a Musical and Best Score; it closed in January 2009. Its 2015 revival was nominated for Best Revival of a Musical.
I saw the original Broadway production and a production produced locally a few years ago. Both were entertaining, but the memories did not stay with me for very long. I recall lots of pent-up adolescent energy being on display, with the staging centered on passing around hand-held microphones, or the performers jockeying for position at a microphone stand placed on the stage. The impact of the story was diminished by the microphone choreography.
This brings me to why I am so enthusiastic about this RSC production: All the elements of the collaborative process come together to provide a flawless production that entertains and provides information that might not be commonly known. It has extremely talented performers, a knowing director at the helm, and the right technical and ancillary personnel.
Director Trevor Biship-Gillespie has a long list of credits at a variety of venues. His staging here is inventive, fluid and poignant. He is aided by Nathan Wilson’s choreography, which features a variety of arm, hand and body placements depicting a range of emotions including anger, frustration, sexual tension and desire. Nathan Cox’s projections were dazzling in helping to evoke different locations, clouds and even Rorschach patterns to go along with songs. Kelly McGuire’s sound effects were spot-on, as were the numerous lighting changes from Mariah Pryor. Kelly Newhouse’s costumes were wonderfully appropriate, while Stephen Hulsey’s musical direction had both group and solo turns well-presented.
While the story primarily revolves around three of characters, everyone in the ensemble cast has meaningful interactions and a moment to shine. Leilani Baldwin (Ilse) had a heart-wrenching scene trying to connect with Moritz. Arthur Buenaventura (Ernst) brought a touch of humor to his scene with Hanschen. Candace Coe (Wendla) brings tears to one’s eyes in her quest for intimate facts from her denying mother. Imani De Leon (Thea) has a beautifully strong voice and stage presence.
Carlos Garcia (Moritz) gives great depth to his tragic character. Megan Lawson (Martha) delivers her angst-filled song powerfully. Steffon Martindale (Otto) was a pleasure to observe throughout the show. Christine Michele (Frau) portrayed a variety of adult women with conviction and differentiation. Samuel Moffatt (Hanschen) is a delight to watch as he takes his character on his sexually repressed journey. Joseph Portoles (Melchor) is terrific in a very difficult role. Koby Queenen (Georg) provides vocal magic throughout. Joyanne Tracy (Anna) lights up the stage with her presence and focus, and the forementioned choreographer, Nathan Wilson, plays several more-than-stern adult men including teacher, parent, minister and doctor.
At the end of the opening-night performance, the appreciative and enthusiastic audience rose from their seats to justly honor a very magical night in the theater. I hope you will get a chance to see this production and have it move you, too!
Spring Awakening will be performed at various dates and times through Thursday, Jan. 30, at Revolution Stage Company, 611 S. Palm Canyon Drive, in Palm Springs. Tickets start at $28, and the show is two hours and 30 minutes, with one 15-minute intermission. For tickets or more information, visit www.revolutionstagecompany.com.
Spot on review! This production gave the original great homage, with less set and less complicated lighting. Both showing how powerful a well sung and acted cast can move the audience.