Posted: 9/12/15 at 9:37pm
I'm planning to take my sister as a birthday present in December. I was looking at the medium range tickets, either Orch row N seat 10/12 or Mezz row E seat 114/113. From what's been said here it sounds like the mezzanine would be preferable? (Or should I splurge and spend the extra $40 per ticket for front row mezzanine seats?) Thanks!
Posted: 9/13/15 at 10:41am
Wow! A friend and I saw this last night and we were both in awe, very moved. It was our first exposure to Spring Awakening. I thought the staging was very exciting and effective, and having every cast member signing was great. I had pictured going in that there would be someone standing on the side translating into ASL, so I didn't know what to expect. (I often avoid reading about a production because I want to be surprised.) I thought Katie Boeck was awesome as Wendla's voice and worked so well with Sandra Mae Frank, who played Wendla with such beautiful vulnerability. The concept is amazing and I feel it worked worked very well. My friend and I had TDF seats in the left rear orchestra, and we could see everything perfectly. I was happy to have the leg room, as I find the mezz in that theater to be tight. We were in Row P, and that was great because that row is a bit elevated. I actually wouldn't mind a second visit.
Posted: 9/13/15 at 11:13am
I saw the show on Friday night. I did the lottery loser seats, so my seat was in row E on the extreme side of the orchestra underneath the box seats. I could not see half of the set and a lot of the projections, and whenever someone was on the far right side of the stage, I could not see them. What I could see, I liked a lot. This is definitely a very special production. I thought that the entire cast was great. I plan on going back soon to see the show from the mezzanine so I can experience the entire show.
Posted: 9/13/15 at 11:35am
How much are the lotto loser seats, and were they sold to you as partial view?
Posted: 9/13/15 at 11:38am
I would consider them very partial, but they are not sold as partial seats. I would not recommend them.
Posted: 9/13/15 at 11:41am
sarastar43 said: "I'm planning to take my sister as a birthday present in December. I was looking at the medium range tickets, either Orch row N seat 10/12 or Mezz row E seat 114/113. From what's been said here it sounds like the mezzanine would be preferable? (Or should I splurge and spend the extra $40 per ticket for front row mezzanine seats?) Thanks!"
I would sit Mezz
Posted: 9/13/15 at 12:59pm
Is anyone here Deaf or know of anyone Deaf who has attended the show? I'm very curious to hear how the Deaf community reacts to this piece.
Posted: 9/14/15 at 6:43am
I've become obsessed with Austin McKenzie's cover of this great Australian song, ASL (I think) included!
https://www.youtube.com/watch?v=Mfvz32mKi_0
Posted: 9/14/15 at 7:40am
Has anyone seen other (recent) Deaf West productions? I went to their website and saw they did what looked like to be a completely signed and super-titled American Buffalo. Would be very interested how the translated the rhythms of Mamet into ASL. I would also like to see one of their productions that doesn't use voice doubling actors and wish at least one of the songs in Spring Awakening had been performed only in ASL (no band either).
Posted: 9/14/15 at 7:47am
Whizzer, my friend and I wished they performed "Whispering" in ASL. I think that would've been chilling.
I saw the show this last Firday and lost the lotto as well. Was in row F furthest to the left. I did miss some side action and some subtitles throughout the show. But, all in all it was a great view. If you know the show well enough, or are planning a quick second visit I'd recommend them for the price. (The lotto loser seats are $55)
I thought the show was beautiful and was moved to tears at least twice. (SPOILERS PERHAPS) I loved Krysta's Ilse. She appeared more unstable and I think that it is a better representation of the charcter than the original. My only qualm was "I Believe"! I thought it was way too busy with the altar boys and the priest giving out communion in the back. I understand the song was supposed to be a church hymn, but I'd rather focus on the hayloft.
Overall, it was a great experience. I hope to visit again soon!
Updated On: 9/14/15 at 07:47 AM
Posted: 9/14/15 at 2:22pm
First let me say that this was my first real exposure to Spring Awakening. I didn't see the original or any other subsequent productions and I've never listened to the album.
I'm still processing the show. I definitely enjoyed it and was entertained. But I didn't really feel that much of an emotional connection to the characters and the more I thought about it, the more problems I had with it. Which is not to say that I didn't enjoy it. The experience in the theatre was great, but, for me, the play and production just didn't stand up well to closer scrutiny. Part of the issue for me was though there were some strong performances and I could be somewhat moved by the fact that sad things are sad, I didn't really get invested in the characters. It was too abstract for me with characters coming in and out and not really having their stories developed. I feel like I wanted an ensemble show and at the end, found myself realizing that this was all just Melchior's story with some side plots and being disappointed in that discovery. Now, that actor is one of the best actors on the stage and does a lot to help carry the show but having Spring Awakening simply be his story is somewhat unsatisfying.
My other big problem is related to the first. It was very difficult to find a fully-realized female character to latch onto who was not a victim or otherwise problematic. The closest I came to one was Fanny Gabor. And while I really enjoyed the performances from all of the actors playing Wendla and Morritz, I think some of the choices made in portraying the roles that way ended up heightening Melchior's villainy.
There were some very strong performances and in many ways its a beautiful and exciting production to watch. I wouldn't dissuade anyone from seeing it. I guess it just didn't reach me the way I hoped it would.
Posted: 9/14/15 at 2:29pm
VintageSnarker said: "It was very difficult to find a fully-realized female character to latch onto who was not a victim or otherwise problematic. "
Is that related to the production or the 1891 source material, though?
Posted: 9/14/15 at 3:10pm
There aren't really any characters in the show who aren't flawed. A lot of the female characters are indeed victims, some of abuse and some of circumstance. Hanschen is practically a nazi, the adult characters are completely inept and Melchior's actions lead to the deaths of Moritz and Wendla. What characters are we supposed to "latch" on to? That's the tragedy of it all.
Posted: 9/14/15 at 3:21pm
Where did they find Austin McKenzie? According to his Playbill bio, he is making his theatrical debut with this production. As in: this is his first professional role. He is terrific.
I liked the original production. I like this one much more and will have to make a return visit.
Posted: 9/14/15 at 3:45pm
"Where did they find Austin McKenzie?"
He is terrific. I don't know about him in particular but Michael Arden said they found some of the cast through video submissions.
Posted: 9/14/15 at 3:50pm
Austin McKenzie is the only lead in the trio that sings/talks AND signs, that's why when you see it, you leave feeling very impressed. He does an outstanding job! Hope to see him in many more shows.. or maybe hollywood will snatch him right up.
Posted: 9/14/15 at 5:28pm
I remember reading that Austin was in college studying to become an ASL translator when he randomly auditioned (not sure if in person or via video). Before this he was only in a few high school theater productions. Pretty extraordinary. He also learned ASL by working the past several years at a camp for kids with special needs. A special guy, and seems like he was made for this role.
Posted: 9/14/15 at 5:40pm
*Spoilers*
Saw the show this weekend. Enjoyed it overall, but think it is trying way too hard to be unique. The original is much more effective getting the material/text across in nearly every way, although there is an equal balance here with the visual aspects. I had a problem with many of them though: what was there purpose? The sign language aspect was obviously the base, but its as if they weren't content with just sticking with that. Throughout the night, there are nearly 100 concepts that get thrown at the audience that seem to have no meaning. Chalk? Finger lights? Fancy chair movements? The show seems to be lacking an identity as it tries to be so different from the original.
Posted: 9/14/15 at 5:50pm
I am quite confused by your post and inclined to write it off as a fan of the original who dislikes change.
the characters and staging are endlessly more clear here...
And why you describe as "concepts" are not, in fact, "concepts", they are staging moments. Iwillnlet someone else try to explain the chalk circles to you before Ingive myself a headache, but suffice to say that it cleRly communicated personal space to me.. And the finger lights were, for the bulk of the time, reflecting the starlight effect while also signing the lyrics.... The stars were speaking, so to speak. No tacky turn of ohrase intended.
and what do you possibly mean by "fancy chair movements"?
Posted: 9/14/15 at 5:54pm
Wow, huh. I too am pretty confused by VotePeron's post. Here's what I have to say about that:
"The sign language aspect was obviously the base, but its as if they weren't content with just sticking with that. "
Why should they be? What you have to remember is that this production came from a theatre company whose main purpose is to integrate ASL into their productions. Can you imagine if the ONLY thing that the theatre's various directors chose to do in their productions was to incorporate ASL? They would all be exactly the same. The ASL is not a gimmick, it's a method of making the show accessible to deaf people, in a way that is incorporated into the show. There still needs to be a production. The director and designers and actors still need to make choices and create an engaging production that doesn't just involve ASL.
"Throughout the night, there are nearly 100 concepts that get thrown at the audience that seem to have no meaning. Chalk? Finger lights? Fancy chair movements?"
I'm sorry you had a difficult time dealing with the those "concepts," I guess? If you REALLY want to delve into the meaning of these directing/design choice: The finger/lights were to illuminate the signs in the dark, as well as to seem like stars in the song entitled "the mirror blue night." The "fancy chair movements," could also be called also be called "creative choreography" or "a directing choice."
I'm sorry to hear that you were overwhelmed by this production, but I don't think what you're describing is all that unreasonable to expect from any show.
Updated On: 9/14/15 at 05:54 PM
Posted: 9/14/15 at 6:43pm
Chalk circles? I didn't like every choice as I wouldn't expect to like every choice in any production but I didn't find it overwhelming. Rather, it seemed like you could follow the main story well enough with those additional elements being things that would make the experience richer upon repeat viewings. For instance, the amazing guitar solo from the box. 
Posted: 9/14/15 at 6:43pm
Saw the show last night and am still reeling. I really hope to see Austin P. McKenzie do more professional theatre; in a cast of standouts, he still manages to shine brightly.
I could not have been moved more by this production. I know the show inside and out, and yet, I had to sit down and actually write out everything new I had discovered about the story and the characters.
My mother cried every time every time Krysta Rodriguez held the spotlight; she was marvelous. Having seen this and Hamilton back to back, I would say the Tony for director just changed hands. I really hope the show doesn't get forgotten come April; I'm anticipating seeing Arden, Rodriguez, and McKenzie's names on Tony Tuesday.
Posted: 9/14/15 at 6:46pm
Here's an article that describes the mechanics of choreographing the show:
Spring Awakening's Deaf Actors Dance to Music They Can't Hear
https://www.tdf.org/stages/article/1284/spring-awakenings-deaf-actors-dance-to-music-they-cant-hear
Posted: 9/14/15 at 6:58pm
I still think Tommy Kale has the edge on Arden for the Tony, but I actually personally feel that Spring Awakening deserves the Choreography award more than Hamilton does.
Posted: 9/14/15 at 11:49pm
Just returned from show---- loved it even more this time ! Theatre was packed, and alive ( especially for a Monday!!). Have to agree with the PP ---- absolutely love Krysta's isle. Her facial expressions alone are worth my ticket price ! This is really an incredible production-
