Spring Awakening
Lyric, Hammersmith, London
SPRING Awakening is unlike any other musical currently on the London stage. It has soul and grit and will convert die-hard non-musical fans to the genre.
Take my theatre companion. She sees herself as a discerning theatregoer – liking anything of a cerebral nature, but detesting musicals. She was, however, very keen to join me to this show as one of her New York theatre buddies had extolled the virtues of Spring Awakening. Throughout the performance she was bopping along to the brilliant indie rock music and terrific lyrics including “Mama Who Bore Me”, “Totally Fucked” and “Touch Me”. She was not alone. The theatre was filled with youngsters and oldies – all enthralled with what was on offer and it’s easy to see why.
Spring Awakening, Frank Wedekind’s 1891 play, was initially banned in most European countries for more than half a century. Yet its story of the pain of growing up among overpowering adults still has much resonance.
Michael Mayer’s stunning production was originally produced by New York’s Atlantic Theatre Company and was the recipient of eight Tony Awards. When the 2009 British theatre awards are dished out, my bet is that this show, with book and lyrics by Steven Sater and music by Duncan Sheik, will earn a fair number.
Its excellent cast includes Aneurin Barnard as Melchior and Iwan Rheon as Moritz. Remarkably, the cast are very young – and oh so wonderful. They all give exceptional performances and truly get under the skin of the 19th century characters they are playing. This is, of course, helped by Susan Hilferty’s authentic costumes. Undoubtedly, the cast all have bright burgeoning theatrical futures. Sian Thomas and Richard Cordery are the only adults in the production and as such play the authority figures – in other words, teachers, parents and doctors.
Melchior is the talented rebellious youngster who discovers sex with innocent Wendla (Charlotte Wakefield), whose mother finds it impossible to tell her the facts of life. Wendla later dies as the result of an illegal, botched abortion. Moritz is the bullied boy whose isolation leads to suicide.
Christine Jones’ intriguing and modern set, which resembles a school gymnasium, holds the seven-man rock band and the cast and some audience members sitting on benches on the side. Kevin Adams also deserves a special mention for the terrific lighting he has created.
The show is an attack an all things bourgeois and should appeal to all Tribune readers with taste and attitude. Buy a ticket before it’s too late.
Sharon Garfinkel
