Review: Chance Theater Presents Intimate New Production of SPRING AWAKENING

For nearly two decades—via write-ups and published reviews, social media posts, or even just casual conversations with friends and colleagues—I have made it no secret that one of my personal favorite musicals of all time is the 2006 Tony Award-winning musical SPRING AWAKENING, the angsty but melodically-rich rock musical that explores the lives of young turn-of-the-century German teenagers trying to navigate the turbulence of adolescence within a repressive and morally rigid society. Adapted from Frank Wedekind's controversial 1891 German play of the same name, this unique musical features music from recording artist Duncan Sheik and book and lyrics from Steven Sater. 

Even now, its gorgeously poetic music and its searing story still deeply reverberate, and it is precisely for these reasons that I take almost every opportunity that comes my way to go and experience a new or different production when it pops up locally, hoping to both reacquaint myself with what I love about the show and to also see a new company's fresh take on this precious material. Naturally, some productions, as to be expected, are better than others.

And though this period piece is set in late 19th-century Germany—where much stricter, more oppressive authoritarian rule and immovable religious fervor stringently dictates how citizens conducted their lives and the lives of their children—the show itself reminds audiences of its very relatable present-day connotations, demonstrated, of course, by its seamless incorporation of modern, rage-fueled rock songs and lyrically-sweeping, pop-tinged ballads that are performed with a very current and contemporary vibe in both sound and delivery—offering quite a contrast juxtaposed besides the show's very old-world, antiquated dialogue.

It's a very clever, roundabout way for characters to confess their feelings: to sing contemporary songs to reveal their relatable inner thoughts, while the dialogue spoken out loud for anyone to hear remains closer to the 19th-century source text, highlighting the obvious timelessness of adolescent angst.

Personally, though it has been quite some time since I've been the age and temperament of the teen characters in the show, I still relate and have an affection for these young people, and feel particular empathy towards the chaotic and tumultuous emotions that they are going through, as they work towards achieving enlightenment, knowledge, and understanding in a sheltered world that insists they get little to no insight about their growing pains. 

For adults in this repressive environment, keeping kids in the dark is a better solution than actually letting them know what's going in the world—all under the guise of protection, even though such lack of knowledge actually leaves these kids more vulnerable to tragedies. This certainly exposes the clash between youthful innocence and adult hypocrisy.

Bursting with powerful, beautifully-rendered musical performances and emotionally-stirring characterizations from a terrific ensemble cast, Chance Theater's incredible-sounding, fiercely-acted, deeply searing new production of SPRING AWAKENING is, I must say, one of the best, most satisfying productions of this musical I have seen in a while… and, perhaps, even one of the best musicals that this theater has ever mounted in its 20-plus-year history. Not since seeing Deaf West's exquisite 2015 pre-Broadway revival at the Wallis Annenberg in Beverly Hills have I been this moved by a production of this musical. 

Directed with a gently reverent yet comfortably brisk pace by Jocelyn A. Brown, this impressive, stirring new production—which continues performances on the Cripe Stage through August 10, 2025—feels lively yet tender, and soul-shaking yet effervescent. I'm not ashamed to say that even as the first guitar strings plucked away during the opening song (even before a single lyric is uttered), I already started to get teary-eyed. Funny enough, that's a great early sign for me that this show will be a satisfying emotional roller-coaster.

And, gosh, it certainly is. 

From the early high of "The Bitch of Living," and the hilarity of "My Junk," to the heartbreak of "The Dark I Know Well," "Don't Do Sadness/Blue Wind," and "Left Behind," this production amps up the feels in every direction. By the time it reaches the finalé with "The Song of Purple Summer," lots of tears streamed down from various audience members—including the puddle I left on myself. This production is that good.

Story-wise, the musical pays particular focus on three young teens struggling with parental and scholastic demands. 

There's the charismatic Melchior Gabor (the excellent Corydon Melgoza), an extremely smart and inquisitive young man whose progressive ideas clash with conventional norms. His childhood friend—and crush—Wendla (the lovely-voiced Kayley Stallings) is a curious but naive girl who can't seem to get true answers from her parents. And then there's Moritz (the impressive Brody Tarrant Sitton), Melchior's emotionally fragile Best Friend who is plagued nightly with fantastical erotic dreams that confuse and distract him—enough that they jeopardize his studies.

We also meet other teens in town, who each grapple with their own individual struggles. They include Ilse (the haunting Isabella Kaplan) whose harsh home life forces her to run away from home to live on the streets, and Martha (the multi-talented Emma Magbanua) who, we soon learn, has bruises on her body from the physical and sexual abuse she suffers from her father. There's also Ernst (Diego Huerta-Gutierrez) and Hanschen (Caiden Falstrup-Finney), a pair of queer boys who fall for each other but likely have to hide their attraction from others. Other friends also include Thea (Linda Bard), Georg (Jack Thomas Aitken), Anna (Naya Ramsey-Clarke), and Otto (Jaylen Baham), who each grapple with their own puberty-related insecurities and traumas.

Hovering over them all are the often authoritative adult figures—from parents to school instructors—that lord over their every movement and thought, all played by terrific actors Erica Farnsworth and James Michael McHale.

As the teenagers struggle to understand their changing bodies, sexual awakening, and societal expectations, they encounter tragic consequences—mostly due to the lack of honest, informative guidance from the adults in their lives. 

Moritz, unable to cope with the pressures of school and his heightened symptoms of puberty, descends into deep despair exacerbated by feelings of hopelessness. Wendla, after a consensual though highly-misinformed sexual encounter with Melchior, is met later with a shocking surprise to both herself and her disappointed parents. For his part, Melchior (already branded a "radical" by adults and peers) becomes a symbol of everything that's going wrong with teens today—someone with extremist, alternative thoughts and a liberal philosophy that counters more conservative traditions and standards.

Ultimately, the story confronts many pressing teen issues that seem to transcend time such as sexual repression, abuse, suicide, abortion, and the stifling effects of authoritarian control—and how all of that combined make adolescent life seem even more of a struggle than it already has to be.

From its haunting first notes to its hopeful finalé, Chance Theater's SPRING AWAKENING creates a palpable atmosphere of tension and foreboding, reiterated in the theater's dark-colored sets created by scenic designer Bradley Kaye that not only supply neutral, utilitarian backgrounds for the characters (and Jacqueline Malenke's moody lighting) to play in, but also provide cleverly constructed nooks for the show's on-stage band (led by musical director Robyn Manion) to sit and blend in throughout the show—allowing certain actors who double as musicians in the band to join in or step out with minimal fuss. Meanwhile Bradley Allen Lock's period costumes is a reminder of the show's specific era, while in direct contrast with choreographer Mo Goodfellow's modern rock-and-roll and lyrical dance moves.

This assembled cast is just moving and spectacular—both as singers and as actors. Additionally, they all look like the appropriate ages of their respective roles.

The hulking, velvet-voiced Melgoza is a pleasant surprise as Melchior, a dashing but gentle, sweet-natured towering giant in contrast to Stalling's smaller, more palpably naive Wendla. Sitton's hauntingly tortured Moritz portrait definitely stays with you—and I love love love that in this production (Spoiler Alert) he stays around as an observant during "Left Behind" (which, good lordt, left me a crying mess). Elsewhere, adorkable Huerta-Gutierrez and smolder-y Falstrup-Finney were wonderful in their flirtatious duet, which serves as a nice palette cleanser after a devastating funeral scene. Farnsworth and McHale were also standouts in their multiple distinct portraits of different adults in the story. And shout-out to Kaplan, Ramsey-Clarke, and Magbanua for their exquisite singing voices.

And special kudos to guitarist Kaplan (Ilse), flutist/bassist Magbanua (Martha), cellist Bard (Thea), guitarist Ramsey-Clarke (Anna), and bassist McHale (Adult Man) for doing double/triple duty as members of the show's gorgeous-sounding orchestra. 

Overall, Chance Theater should be elated at the results of their excellent, well-mounted production, which valiantly continues the show's deeply layered exploration of important themes that resonate with young people no matter what era they come from: that the lack of open conversation about sexuality—and the confusing emotions that come with it—could lead to catastrophic outcomes, and, most of all, that listening to our youth (and really hearing what they have to say) is more important for their mental health rather than simply controlling or subjugating them.

When the musical first premiered almost 20 years ago, SPRING AWAKENING was hailed as a revolutionary piece of musical theater, winning 8 Tony Awards (including Best Musical) and spoke directly to a generation of young audiences with bold, taboo topics important to them. It's safe to say, particularly with Chance's production, that the show's unflinching portrayal of these topics is precisely what makes it still powerful and necessary to experience today.

A still haunting, electrifying, and unshakeably honest portrayal of the struggles of adolescence, SPRING AWAKENING combines historical context with modern musical idioms, creating a bridge between generations that shines a light on the enduring consequences of silence and repression. With characters you care for and a stunning score that stays with you, the show remains a favorite.

And, most of all, the show still f**king rocks. 

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Photos from Chance Theater's production of SPRING AWAKENING by Doug Catiller. 

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Chance Theater's Production of SPRING AWAKENING continues on the Cripe Stage through August 10, 2025. 

Chance Theater is located in the Bette Aitken Theater Arts Center at 5522 E. La Palma Ave., Anaheim, CA 92807. For more information or to purchase tickets, call (714) 777-3033 or visit www.ChanceTheater.com.