#1
Posted: 12/10/06 at 6:30pm
The AP is Positive:
"The play caused quite a fuss when it was first produced a century ago. But then, plot points include premarital sex, abortion, homosexuality, autoerotism, sadomasochism and incest. Even today, they are likely to cause a stir.
That hasn't deterred adapter and lyricist Steven Sater and composer Duncan Sheik. What they have done here is upend traditional musical theater. They separate story from song, rigidly dividing the saga of these troubled teens as they confront their budding sexuality in a world that wants to keep it hidden. Propriety and appearances are what count, after all.
Sater pretty much follows the Wedekind play, but when the story stops for a tune, the actors pull out microphones or set up a mike stand, and the O'Neill stage explodes in a kind of rock concert, circa 1890.
Despite the division, the show, directed with driving force by Michael Mayer, has astonishing unity, a clarity of purpose. The songs comment on the action, which Mayer pushes with blazing speed. Although production values have been enhanced, the setting, designed by Christine Jones, is still minimal. A small band sits on the nearly empty stage as do the actors when they are not performing. The performers mingle among several rows of theatergoers also seated on the sides of the playing area.
Sheik, a singer-songwriter best known for the 1996 hit "Barely Breathing," writes rhythmic, driving melodies that neatly capture the frenetic uncertainty of the characters. Yet there is a quiet, introspective quality to some of his more mournful songs. Sater's intelligent lyrics display a sense of poetry without feeling precious.
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For all its turbulence and focus on teenage angst, the show concludes on a note of uplift, "The Song of Purple Summer," a plea for tolerance and understanding. The number celebrates the potential of young people and all their possibilities. Exactly the right ending for a musical as adventurous as "Spring Awakening."
http://www.iht.com/articles/ap/2006/12/10/arts/NA_A-E_STG_US_Spring_Awakening.php
"The play caused quite a fuss when it was first produced a century ago. But then, plot points include premarital sex, abortion, homosexuality, autoerotism, sadomasochism and incest. Even today, they are likely to cause a stir.
That hasn't deterred adapter and lyricist Steven Sater and composer Duncan Sheik. What they have done here is upend traditional musical theater. They separate story from song, rigidly dividing the saga of these troubled teens as they confront their budding sexuality in a world that wants to keep it hidden. Propriety and appearances are what count, after all.
Sater pretty much follows the Wedekind play, but when the story stops for a tune, the actors pull out microphones or set up a mike stand, and the O'Neill stage explodes in a kind of rock concert, circa 1890.
Despite the division, the show, directed with driving force by Michael Mayer, has astonishing unity, a clarity of purpose. The songs comment on the action, which Mayer pushes with blazing speed. Although production values have been enhanced, the setting, designed by Christine Jones, is still minimal. A small band sits on the nearly empty stage as do the actors when they are not performing. The performers mingle among several rows of theatergoers also seated on the sides of the playing area.
Sheik, a singer-songwriter best known for the 1996 hit "Barely Breathing," writes rhythmic, driving melodies that neatly capture the frenetic uncertainty of the characters. Yet there is a quiet, introspective quality to some of his more mournful songs. Sater's intelligent lyrics display a sense of poetry without feeling precious.
______________________________________________________________
For all its turbulence and focus on teenage angst, the show concludes on a note of uplift, "The Song of Purple Summer," a plea for tolerance and understanding. The number celebrates the potential of young people and all their possibilities. Exactly the right ending for a musical as adventurous as "Spring Awakening."
http://www.iht.com/articles/ap/2006/12/10/arts/NA_A-E_STG_US_Spring_Awakening.php
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
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"The Devil Be Hittin' Me" -- Whitney
