Review: SPRING AWAKENING at Bare Bones Theatre Ensemble

Duncan Sheik and Steven Slater’s rock musical Spring Awakening is an adaptation of Frank Wedekind’s 1891 German play of the same name. Spring Awakening first opened on Broadway in 2006, starring Jonathan Groff and Lea Michele. The story features a group of teenagers in late 19th century Germany. It explores the tumultuous experiences of growing up, delving into the curiosity and excitement of love and sexuality as well as the anger, fear, and confusion that accompany experiences of failure, loss, abuse, and suicide. Spring Awakening faces difficult themes head-on, refusing to ignore the complexities of growing up. Bare Bones Theatre Ensemble stages Spring Awakening at Theatre Harrisburg’s Krevsky Center on Sundays from July 20-August 10.

Under the direction of TJ Creedon and Caitlin Graci, the cast and Production Team of Spring Awakening create an emotional, sensitive, engaging production. The lighting is brilliantly designed, and the incorporation of flashlights throughout the production creates an effect in which the light hides as much as it illuminates. During the performance this reviewer saw, the sound balance was off at times, making it difficult to catch all of the lyrics, particularly on songs where the diction was not as good. However, the emotions of the actors allow the audience to understand the meaning of the song even when not all of the words can be understood. The set, costumes, and props all work together to enable the action to fluidly move from one location to another and from one point in time to another.

The staging is wonderful, making good use of the space, levels, and angles not only to ensure that the entire audience can see the action but also to visually represent various emotions and themes within the production. The choreography by Alexandria Fazzolari enhances the mood of each song and flows naturally from the preceding blocking. Joseph Chubb’s stage combat choreography is extremely effective, creatively using space to add to the intensity of the movement.

The pit, under the direction of Brad Barkdoll, features Brad Barkdoll (Guitar), Jeremy Blouch (Bass), Morgan Hacket (Violin), Andrew Jackson (Cello), Lynn Murphy (Viola), Ryan Dean Schoening (Keys), and John Tuzza (Drums). These talented musicians set the tone, tackling the score with precision and adding depth to the feelings behind each number.

The cast includes Joseph Chubb (Pit Singer, U/S Melchior and Moritz), Alexandria Fazzolari (Pit Singer, U/S Martha, Anna, and Thea), Jacob Carmack (Pit Singer, U/S Otto, Hanschen, Georg, and Ernst), Emmalee Shirley (Pit Singer, U/S Wendla and Ilse), Kaylee West (Anna), Em Kase (Thea), Adria McGarry (Martha), Benny Benamati (Otto), Marcus Weaver (Georg), Jet Gillan (Ernst), Travis Conrad (Hanschen), Maggie Elizabeth (Ilse), Glenn Hamilton (Adult Man), Rachel Landon (Adult Woman), Joshua Schriver (Moritz), Madison Eppley (Wendla), and Alec Brashear (Melchior). The cast transfixes the audience with their passion and energy. Their tight harmonies are on point, creating spine-tingling waves of sound. The addition of Joseph Chubb, Alexandria Fazzolari, Jacob Carmack, and Emmalee Shirley singing from the pit adds depth and strength to the ensemble numbers.

Kaylee West, Em Kase, Adria McGarry, Benny Benamati, Marcus Weaver, Jet Gillan, and Travis Conrad infuse their characters with just the right mix of teenage conflict, frustration, angst, hope, and fear. Adria McGarry particularly shines as Martha, their facial expressions and body language fill the audience with sadness, fear, and rage on behalf of Martha, who is abused by her father. McGarry’s duet with Maggie Elizabeth’s Ilse on “The Dark I Know Well” is one of the most haunting moments of the production. Maggie Elizabeth’s Ilse is performed with wonderful nuance and emotion, her interactions with the other characters shedding light on the realities of Ilse’s life compared to theirs.

Glenn Hamilton and Rachel Landon take on a variety of roles as Adult Man and Adult Woman, portraying teachers, parents, and other adult authority figures in the lives of the students. Their ability to become another character in a split second with small alterations in voice, expression, and movements is brilliant. Joshua Schriver’s performance as Moritz is one of the highlights of the production. He is so believable in his role that the audience cannot help but want to comfort him and protect him. His vocals are fantastic, bringing “And Then There Were None” and “Don’t Do Sadness/Blue Wind” to life with his vocal precision, agility, and emotion. Madison Eppley’s Wendla is sincere and lovely. Her interactions with her mother, friends, and Melchior are beautifully heartfelt. Her performance of “Mama Who Bore Me” at the top of act 1 sets the tone for this haunting and poignant show. Alec Brashear is electrifying as the intelligent, philosophical, rebellious Melchior. His gorgeous, clear voice gives the audience goosebumps, and his interactions with Eppley’s Wendla and Schriver’s Moritz feel wonderfully genuine.

Spring Awakening is not an easy show to perform, produce, or watch, but it tackles topics that are just as relevant today as they were when Wedekind’s play was first published. Bare Bones Theatre Ensemble’s production of Spring Awakening is well-crafted, taking the audience on a heartrending journey which, through everything, still ends in hope. You have two more chance to see this show—August 3rd and August 10th. Get your tickets before they sell out at Theatre Harrisburg’s Krevsky Center Tues-Fri 10am-2pm.

Photo Credit: @lexilynnphoto

Central Pennsylvania Awards - Live Stats

Best Musical - Top 3

1. THE PRODUCERS (Ephrata Performing Arts Center)

23.7% of votes

2. 13 THE MUSICAL (Hershey Area Playhouse)

14.3% of votes

3. SINGIN' IN THE RAIN (The Pennsylvania Playhouse)

4.9% of votes

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