Review: OU University Theatre Rouses Hearts and Minds with SPRING AWAKENING

Spring Awakening is a folk-rock musical with the basis of the story stemming from a 19th century play of the same name, originally penned by German playwright Frank Wedekind. The musical version made its Broadway debut in 2006, and put future Glee and Hamilton stars Lea Michele and Jonathan Groff on the map. The musical is written by Steven Sater, with music by Duncan Sheik. Immediately banned after its publication, the original piece that it's based on remains largely intact. Spring Awakening is based on true events, and watching it with that prior knowledge makes it even heavier and more tragic.

OU's University Theatre Department puts this show on during a most unique time in our history. Spring Awakening is steeped in sexual tension. The youths in the forefront of this tragedy are bursting for knowledge, affection, touch, connection, and intimacy. These are all things that have been blatantly lacking in 2020 and into 2021. This unique production, directed by Shawn Churchman, aptly and beautifully communicates those very relevant struggles. While the characters in the show are forbidden to touch and explore each other, for fear of sin and lack of sexual education, the performers themselves are prevented from embracing because of masks and social distancing requirements. What results is an artistic adaptation of things felt but unexpressed, mingled with the "new normal" that keeps us all apart.

There are several ways that this show has been adapted to accommodate COVID protocols. A scene between main characters Melchior and Wendla portrays them getting closer emotionally and physically. To convey this message safely, the space between them is depicted with a panel of yellow fabric. The shimmering fabric is stretched and twisted, pulled taut and then released to float between the two as they sing to each other.

Another scene with these same characters would traditionally be a love scene in a hayloft. In this production, Wendla lays on haybales and Melchior is above her on a metal frame. The actual touching is absent, but the intimacy is not. These necessary changes don't take away from the story at all. They actually enhance it so magically, it's hard to imagine the show without them.

Dan Berry as Melchior and Maddie Elyse Robert as Wendla have managed to do the impossible. With their own natural chemistry and commitment to the roles, they've managed to create characters who are deeply connected to each other, despite not being able to touch. Berry portrays a Melchior who is complex, troubled, and arrogant. And yet, he's relatable and sympathetic. He begins to see his own failings when he realizes the true cost of his actions.

Robert as Wendla is absolutely innocent, completely naïve in every way, but most importantly, she doesn't understand her actions. She's sought an explanation for how babies are made from her own mother, who backs down out of fear and fails to explain basic Sex-Ed to her daughter. Wendla later gives vague consent to sex with Melchior, and it can't be considered true consent because she doesn't fully understand what she's agreeing to. Melchior has more knowledge of the concept and coerces Wendla. This scene is divisive but important. It serves to remind how critical consent is, and how, in its absence, the narrative changes completely.

Wendla could easily come across as school-girlish and unrealistic. But Robert is neither. She's completely believable, more a child than a woman, and her innocence is in desperate need of protection. She gets no choices of her own, and stands to become a victim in the most heartbreaking ways.

Truly moving is Ethan Clock as Moritz. Moritz is plagued by things every teenaged boy deals with - a changing body, raging hormones, and stress over school. Clock is animated and energetic, hopeful and down-trodden. He wears his heart on his sleeve. Clock's performance is visceral and emotional. He leaves everything on the stage.

Ginger Chanel Johnson is stunning as Ilse. She shares a hopeful moment with Moritz, and it leaves the audience holding their breath, hoping the inevitable won't happen. The tragedy of the moment is heightened by the fates of both characters. Johnson is a strong performer, and her portrayal cuts to the heart.

A particularly beautiful moment occurs between Brett Cole Young as Hanschen and Christian Tinajero as Ernst. These two young men discovering, and accepting, their love and desire for each other is breath-taking. The social distanced version of this number is unique and nuanced, sexy and heart-pounding. Young is brilliant in this scene, and he and Tinajero easily steal the entire show.

Abbey Friedmann shines as Martha, particularly in the haunting, revealing number "The Dark I Know Well". Paris Richardson as Anna and Anna McGuire as Thea are also innocent and eager. The female ensemble is bold. Their harmonies are gorgeous and powerful, and while they mostly croon in folky melodies, they can rock out even harder.

Likewise, the male ensemble is stout, with rocking numbers, tough emotional scenes, and memorable choreography. The male ensemble is completed by Jesse Hanks as Georg, Evan Lennon as Otto, and Brayden Worden as Dieter.

Alyssa Watkins and Rodney McKinner work hard in their roles as all Adult Women and Adult Men. They're cold as the school administrators, warm as the parents, and accomplish the feat of being onstage for nearly every scene. These two unsung heroes are the backbone of the production, and hold it up well.

Off-stage singers add richness and depth to both the story and the musical numbers. They're Jillian Sjoquist, Tessa Giordano, Jordan DeLeon, and Brayden Worden.

Spring Awakening is more than it seems on the surface. It's not just a rock musical about angsty teens, or a coming-of-age story. It speaks to the deeper importance of intimacy, communication, and knowledge. It tackles physical and mental assault and mental health crises. And it rages in its own quiet way against the establishment and the patriarchy. It's relevant today in a way that it's never been before. The longing to be close to each other that the characters feel is palpable. Their craving for knowledge is understandable. And it teaches the dangers of what can happen when we take those things for granted. OU continues to produce theatre that's moving and provoking, bold and brave, and this production is no different.

The run of Spring Awakening was shortened to one weekend due to weather. All productions have social distanced seating and masks are required for artists and patrons. Live streams are available for select performances. For more information on the entire schedule, visit theatre.ou.edu.

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