My Spring Awakening Review *Spoilers*

[brainpolice23]

Posted: 11/29/06 at 10:47pm

Gays. Sex. Suicide. Child Abuse. Abortion. Musical? No it’s not Rent, or any other show with pseudo-rock ballads, bound to be spread by trendy teenagers. This new production is based on a play by Frank Wedekind that was written in 1891. The original Spring Awakening first appeared in English in 1917, and was promptly shut down because of the nature of the plays content, which caused the New York City Commissioner of Licenses to call the play “Pornographic.” Almost 90 years later, playwright and lyricist Steven Sater and Alternative Rock musician Duncan Sheik decided to rework this coming of age story into (could it be?) a rock musical. After a sell-out run at the Atlantic Theatre off-Broadway, the play made the transformation to the Eugene O’Neill Theatre on Broadway for previews on November 17th, with opening night scheduled for December 10th.
At first the idea of Alternative Rock teamed with classical playwriting seemed mismatched. Yet, through clever direction, storytelling, and astounding lighting design the songs end up serving as internal monologues, expressing the angst and anguish felt by many of the teenage characters. The staging and structural work by the director and creative team allow for a seamless transition between the late 19th century play and 21st century music.
The play focuses on two main characters; Wendla, Lea Michele, a budding teen who’s naïveté about her sexuality and physical development come back to haunt her, and Melchior, Jonathan Groff, a hunky rebel who’s radical ideas and sexual conquests lead to his expulsion from school and society. All seems to go wrong after the two engage in a spicy love-making scene that caused some of the older audience members to adjust their spectacles and loosen their ties.
While the majority of the plot focuses on the tragic romance of the two leads, it is the various sub-plots that maintain the interests of audience members. First there’s Moritz Stiefel, John Gallagher Jr., the poor boy who struggles with his schoolwork and his hormones, pressured heavily by his father and shunned by his teachers and headmasters. Gallagher’s awkwardness and raw energy make each one of his songs and scenes crowd favorites. Thrown into the mix, is a theme of child abuse. One of the female characters, Martha, played timidly by Lilli Cooper, speaks to her schoolmates about the horrific welts her father makes on her body with his belt. This causes some friends to shriek, while others claim that “Discipline” indicates love. Somehow, from this abrupt sequence springs another random theme in which Wendla toys with the idea of sadomasochism. Then, the other prominent subplot about sexual experimentation and gender crisis is introduced through the eyes of two schoolboys, Hanschen, Jonathan B. Wright, and Ernst, Gideon Glick. Wright seduces Glick with his arrogant Aryan demeanor, while Glick succumbs after being taken captive by the machismo of his lover. This scene is possibly the most well acted and humorous scene in the show. Another showstopper is Hanschen’s masturbation scene, which also features the character Georg, Skylar Astin, who is oddly obsessed with his piano teacher’s lady parts. This all occurs while the female cast members sing the ballad “Touch Me.”
What shines the most in this production is the score. Duncan Sheik’s anthems “I Don’t Do Sadness,” and “Totally F*****” bridge the gap between the 19th century German schoolboys and girls and modern day school children, helping to highlight the relevance and timelessness of the play and its themes. The acting is much stronger on the male side, with Gallagher Jr., Astin, Glick, and Wright working phenomenally in supporting roles. While Lea Michele has a superb voice, her acting tends to be dry, and her diction crunchy and overdone. Although some may be put-off by the racy subject nature of this play, and the unorthodox score, I am certain that this show will find its audience. More likely than not, it will be teenagers who frequent this new production. However, it won’t be as bothersome when chorus kids and theatre geeks start belting “The Bitch of Living” in the hallways, because they’ll be advertising a play that represents everything we have to go through during our teenage years.

-Zach Fuhrer

[aspiringactress]

Posted: 11/29/06 at 10:50pm

I really think that Astin has the best voice in the show. It's incredible.

[Trina55]

Posted: 11/30/06 at 1:34am

Nice review, but I need to point out that I find your use of the word "gays" a little offensive. In present-day language, gay is an adjective. Used as a noun like that, it connotes a dismissive and homophobic tone. I'm sure you didn't mean it that way, but please be more careful with your terminology. Sorry to be the P.C. police, it just hit a chord.

thanks,
alex

[Lauren_T]

Posted: 11/30/06 at 10:23am

Love the Review!


But there is one thing I see that keeps popping up in people's reviews. And it's the raving about Jon B. Wright. I just dont get it. I thought he was one of the weakest, if not the the weakest in the cast. His voice is awful!!! And his acting...all of his lines are mostly delivered in straight tone, very dry. I know that is 100% character choice, but that isn't hard to do(to make it funny). It is just I don't see what everyone else is seeing with him. Anyone could make his role funny. LOL sorry for the outburst, but i have been seeing rave reviews about him from message boards to playbill.com's interview for "leading" men. My point is that there are others in the cast that are more deserving. I dont get it when people say, that the "Gay" scene is the best scene in the show. I think they say that because the show is so intense and that scene is the "comic relief"...

[sciguy]

Posted: 11/30/06 at 10:40am

Lauren-
I couldn't agree more with your comments about Jon B. Wright. If there is any stand out it is John Gallagher Jr. He really brings Moritz to life. There has been criticism regarding some of the acting in this production, but you can't fault his performance. I'm predicting a Tony nod for best supporting actor. You heard it here first.

[educator06]

Posted: 11/30/06 at 11:18am

Thank you for taking the time to give a review of this terrific show. I share your view as do many regarding Jonathan B. Wright's performance. Obviously he is doing what his director Mr. Mayer has asked him to do. The dry dead pan delivery he gives must be deliberately intended to bring some comic relief to an otherwise dark story. Jonathan B. Wright delivers magnificently on that count, that is why so much well deserved praise is heaped on his performance. I don't believe as has been stated that "Anyone could make his role funny". I mean yah right anyone can do that. Really? I don't think so. I have been to his web site and have read his bio, this kid is going to be even more terrific in other roles down the road. I also totally don't get "His voice is awful!!! " I thought everyone in SA sang great including Jonathan B. Wright. Just my thoughts.

[educator06]

Posted: 11/30/06 at 11:22am

http://www.jonathanbwright.com

[theatrecap]

Posted: 11/30/06 at 12:04pm

"It is just I don't see what everyone else is seeing with him. Anyone could make his role funny"

I guess because Jonathan B. Wright does do such a good job, he makes it look easy. Also I thought his singing was very good indeed as were all the cast in this show. Maybe he was tired the night you saw it. It must be very difficult to do all those shows and be perfect every time.

[Lauren_T]

Posted: 11/30/06 at 12:16pm

I just think some of these kids lucked out! Their off-broadway show transfered to Broadway AND kept the original cast. If these kids had to go through a regular Boradway audition process...I highly highly doubt Jon B. Wright would have even gotten a callback. And my feelings are the same for Gideon Glick! Not broadway material. Johnathan Gallagher Jr. is amazing! He should be the stand out in the cast. Not someone who can barely sing. Have you heard "The Word of Your Body Reprise"? Jon B. Wright's voice is painfully weak. I really wish Skylar Astin was showcased more in this show. He seems to have acting chops along with that powerful voice he has. If the show last, which I really really really hope is does and think it should,...I would love to see a new cast!

[Tom1071]

Posted: 11/30/06 at 12:26pm

I think he is outstanding. I think all the guys in this show give solid performances.

[Blair]

Posted: 11/30/06 at 12:29pm

I couldn't disagree more. I thought Jon Wright was one of the best parts, if not THE highlight of the show for me. His comic timing was dead on and he had the audience eating out of the palm of his hand. I mean, he could just look at the audience and we would die laughing. And I thought his voice was fine. I highly doubt just anyone could do that role and be as funny as he was.

And I also totally disagree that dead pan, dry humor is easy. I think that unless you have tremendous timing, dead pan is the hardest type of delivery to pull off.

And aspiring actress, I agree about Skylar Astin's voice. Those riffs in "Touch Me" are killer.

[educator06]

Posted: 11/30/06 at 1:53pm

Lauren, I whole heartily agree with you that John Gallagher, Jr is amazing as is the entire cast in SA. You say “I just think some of these kids lucked out! Their off-Broadway show transferred to Broadway AND kept the original cast". Was there some luck involved? Sure, but talent had much more to do with it. You sound like you believe off-Broadway is for amatures? Hardly, some of the biggest names in the business are in Off-Broadway shows. The people in charge of casting SA off as well as on Broadway did so based on who they felt was right for that particular role. Jonathan B. Wright is who they chose and a darn good one.
Updated On: 11/30/06 at 01:53 PM

[brainpolice23]

Posted: 11/30/06 at 6:34pm

The review is for my school paper. I think it's great that everyone has different opinions about the actors in the show, and the plot, as well as different interpretations of what the play represents. I thought that Gideon Glick and Jonathan Wright's scene was a nice comic aside that broke up the play nicely. Glick is very understated, but his wandering eyes to illustrate a lot. Also Wright and Astin triumph in "Touch Me," which I think might be an even better scene than the scene between Glick and Wright. I felt that the girls were much weaker, and was put off a bit by Lilly Cooper and Remy Zaken (who, at times, seemed to be emulating Christina Aguilera).