Robert Reviews Spring Awakening

[Robert Taylor]

Posted: 8/22/08 at 2:52pm

When “Spring Awakening” premiered in 2006 on Broadway, it became less of a Broadway hit and more of a movement. Fans who loved the show became fervent supporters of everything about the production down to minute details, made huge stars out of its original cast and deemed themselves “The Guilty Ones” after a second act number. Those who don’t love the show tend to simply loathe it. One could compare this kind of feverish devotion to that of “Hair” when it first arrived on Broadway years ago.

But, like “Hair,” the creators of the show have found themselves in an extremely precarious position with the exit of nearly the entire original cast (original star Jonathan Groff left the production to perform in, ironically enough, a revival of “Hair"). Those huge fans of the show will be much less than welcoming to new cast members than others would be, and any tweaks to the production will come under very close scrutiny. It just “won’t be the same” for them.

Enter Hunter Parrish, an up-and-coming star who currently is part of the supporting cast in “Weeds.” Fans were quite upset with his casting as lead Melchior—had “Spring Awakening” embraced stunt casting? And, at intermission of the production, “The Guilty Ones” were complaining that some of the new cast had (gasp!) different hairstyles than the original cast, and some of them even had (OMFG!) glasses that didn’t before. For those fans, it’s easy to get caught up in the minute differences in the show while forgetting whether or not the show still functions as a great piece of theater that can please audiences eight times a week.

And, thanks in no small part to the extremely charismatic anchor of Parrish and the new Wendla, Alexandra Socha, it is.

The show is based upon a once-hugely controversial play by Frank Wedekind and focusing on a group of eleven teenagers coming into their own sexuality against the backdrop of 1890s Germany. They deal with such things as sexuality, nudity, masturbation, abuse, suicide and abortion.

Believe it or not, the musical actually watered down some of the most questionable aspects of the play, which had Melchior’s character rape Wendla.

Structure has never been “Spring Awakening’s” strong suit; only four characters are given any sort of depth, and none of the supporting characters get any sort of closure when the second act ends. Events and subplots are introduced through a showstopping number and then are completely ignored from that point on.

Still, the journey of Melchior, Wendla and Moritz (Gerard Canonico) is quite a memorable one. When the fates begin giving their unkind, often unfair, gifts to those characters in the second act, there is a real emotional resonance that comes with it.

Parrish interprets the character of Melchior much more softly than Groff did, bringing the character a new vulnerability and innocence. When Wendla nonchalantly asks him to beat her with a stick, he seems absolutely horrified at the thought, and when he actually does it the anguish that hits his face is amazingly poignant. More than that, Parrish brings a beautiful, angelic singing voice to the affair.

Socha doesn’t quite have the pipes to match original Wendla Lea Michelle, but she does have the acting chops that match, if not exceeds, Michelle's work. Her journey as Wendla loses her innocence and then is unable to make decisions about the consequences is heartbreaking.

It is obvious Canonico is still coming into his own as Moritz; he’s sometimes great (especially his vocals) but overacts at some points, and his fateful discussion with Ilse (the still-great Emma Hunton) does not hit the viewer as it should. The rest of the (mostly new) supporting cast is excellent, with a special mention to Matt Doyle and Amanda Castanos.

More than that, “Spring Awakening” still has a life and vivacity that is missing from much of Broadway today. The actors look like they are having fun letting loose and dancing onstage in “Totally F***ed” and still seem to be barely suppressing knowing smiles in “My Junk.” The music by Duncan Shiek with a book and lyrics by Steven Sater still matches the youth and exuberance of the cast perfectly. When the musical wants to be fun, it is FUN.

To make a very bad pun, “Spring Awakening” still hasn’t fallen asleep over at the Eugene O’Neill Theater. The creators have chosen wisely in the new cast, and if you loved the show when you first saw it, you’ll still love it when you see it again, despite subtle differences in characterization and execution.

Rating (out of 5): ***1/2 Updated On: 11/14/08 at 02:52 PM

[Theatreboy49]

Posted: 8/22/08 at 2:58pm

Robert may I just say i have loved reading all of your reviews because you offer great insight into all the show you saw (a few of which I am seeing). I saw the OBC and loved it and it was a life changing experiance so I am one of the people that would notice differences but I accept and welcome them. I am happy the new cast is just as magical as the OBC.

[adamgreer]

Posted: 8/22/08 at 3:11pm

Seems a bit "first night-ish" to me. (remember that thread??)



KIDDING, KIDDING, KIDDING. I also enjoy your reviews immensely.

[johnsons]

Posted: 8/22/08 at 5:17pm

Robert I have to say I was quite a bit more dissapointed with the new cast then you were. While I agree with your review of Parrish's acting, his voice was far from angelic on his upper register.(Perhaps he's gotten more grounded since I saw him?) And Socha seemed uninterested the entire time- I must have gone on an off night or maybe the cast as a whole has improved. . .because this is really one of the first positive reviews I've read of the new cast. But I really do enjoy your reviews- they are very well written.

[Robert Taylor]

Posted: 8/22/08 at 5:28pm

I think he might have been just getting used to the role when you saw him, because his range was fine when I saw the show. When did you see the cast?

I think everyone from the cast was on some kind of high Wednesday anyway. EVERYone in the cast was really into the show and obviously having a great time. Emma Hunton actually cried during "The Dark I Know Well", and "Totally F***ed" was hugely energetic.

[uncageg]

Posted: 8/22/08 at 6:01pm

I almost went to see it in December when I was there but I was afraid it would lose something in a larger theater. (I saw it at the Atlantic) Thanks for the review. I hope to be in NYC in the fall and I just might put it on the list to see, again.

[johnsons]

Posted: 8/23/08 at 12:58am

It was the Saturday night after he started- his 8th show. He only sounded really strained on "Totally F*cked" and a just a bit on Left Behind. But it definately seemed like he had the potential to sing it all well so I would not be surprised if he's great by now.