#1
Posted: 4/21/09 at 6:59am
So... Spring Awakening.
I've listened to the cd and didn't mind it- some tracks were quite dramatic, so I went to the show with an open mind...
The piece itself is problematical- maybe it's the source material- but overall it has a big so-what? factor. What is the point? If it's that kids were repressed back then, that's hardly news, and why does it warrant the rock score? If it's a universal that this is how kids feel even now, that's nonsense- I don't believe the scenario could occur now when sexual mores and freedom of information are so different. There is also the big muddle of sympathy: maybe Wendla is an innocent, but Melchior knows what he is doing, so this is no Romeo & Juliet tragedy, but selfishness leading to some remorse and blaming of others. The other sub-plots are generally under-developed, though Moritz's plight does stir sympathy. Overall, though, plot-wise this is 2 hours of rambling wound-licking.
Now the staging. Oh lord have mercy. For those naives who think that it is ground-breaking, just try attending Fringe theatre for the last 30 years! There is nothing new going on here, from the studio-style set design, to the awkward character freezes, (how 1st-year devised drama task is that?), to the direct address and hand-held mic aesthetic- all so old hat. I very much enjoyed Home at the End of the World, but as a theatre director Michael Mayer seems woefully immature: what the hell was the point of that moving chair on the wall? it's just silly and ultimately distracting. The I Don't Do Sadness scene is severely limited in its emotional impact by having the actors play straight out front from the mic stands. Overall, far too many moments were sense is sacrificed to style or worse, gimmick.
The lighting was a strange affair, too. Whilst the focus is superb, with some very clever rigging to get the angle on some of the specials, many of the cues seemed self-conscious, (and badly cued/ operated too at the performance I saw). I really don't think the neon works either- the problem is that it takes time to pre-heat, so you can't get genuine snap lighting cues. As a result, the neons judder on whenever a big number starts up, and the device becomes predictable, boring and clumsy. (Incidentally, architectural tubes can be dimmed and can snap on far more effectively).
Now the performances: well, this is the sad thing, because the cast was absolutely giving its all- even with only around 300 people in- and the lad playing Herr Stiefel, (Rheon something) was utterly compelling. Some of the voices were not quite up to it, but by and large the attack of the performers was stunning, (I particularly loved one of the swings, playing Anna). Such a shame they are flogging a dead horse.
The audience response was polite but not ecstatic. The buzz coming out of the auditorium was zero.
Whilst it's great that a show can have ambition, this one is a serious case of style over substance, (with the style being rater irritating). I fully appreciate that the show isn't targetted at my generation, but I like to think my tastes are quite diverse and even if something's not my cup of tea I can recognize its virtues. 'Spring Awakening' though, left me disappointed that such a talented young cast had to contend with such a muddled production.
I've listened to the cd and didn't mind it- some tracks were quite dramatic, so I went to the show with an open mind...
The piece itself is problematical- maybe it's the source material- but overall it has a big so-what? factor. What is the point? If it's that kids were repressed back then, that's hardly news, and why does it warrant the rock score? If it's a universal that this is how kids feel even now, that's nonsense- I don't believe the scenario could occur now when sexual mores and freedom of information are so different. There is also the big muddle of sympathy: maybe Wendla is an innocent, but Melchior knows what he is doing, so this is no Romeo & Juliet tragedy, but selfishness leading to some remorse and blaming of others. The other sub-plots are generally under-developed, though Moritz's plight does stir sympathy. Overall, though, plot-wise this is 2 hours of rambling wound-licking.
Now the staging. Oh lord have mercy. For those naives who think that it is ground-breaking, just try attending Fringe theatre for the last 30 years! There is nothing new going on here, from the studio-style set design, to the awkward character freezes, (how 1st-year devised drama task is that?), to the direct address and hand-held mic aesthetic- all so old hat. I very much enjoyed Home at the End of the World, but as a theatre director Michael Mayer seems woefully immature: what the hell was the point of that moving chair on the wall? it's just silly and ultimately distracting. The I Don't Do Sadness scene is severely limited in its emotional impact by having the actors play straight out front from the mic stands. Overall, far too many moments were sense is sacrificed to style or worse, gimmick.
The lighting was a strange affair, too. Whilst the focus is superb, with some very clever rigging to get the angle on some of the specials, many of the cues seemed self-conscious, (and badly cued/ operated too at the performance I saw). I really don't think the neon works either- the problem is that it takes time to pre-heat, so you can't get genuine snap lighting cues. As a result, the neons judder on whenever a big number starts up, and the device becomes predictable, boring and clumsy. (Incidentally, architectural tubes can be dimmed and can snap on far more effectively).
Now the performances: well, this is the sad thing, because the cast was absolutely giving its all- even with only around 300 people in- and the lad playing Herr Stiefel, (Rheon something) was utterly compelling. Some of the voices were not quite up to it, but by and large the attack of the performers was stunning, (I particularly loved one of the swings, playing Anna). Such a shame they are flogging a dead horse.
The audience response was polite but not ecstatic. The buzz coming out of the auditorium was zero.
Whilst it's great that a show can have ambition, this one is a serious case of style over substance, (with the style being rater irritating). I fully appreciate that the show isn't targetted at my generation, but I like to think my tastes are quite diverse and even if something's not my cup of tea I can recognize its virtues. 'Spring Awakening' though, left me disappointed that such a talented young cast had to contend with such a muddled production.
.gif?width=300)
