Spring Awakening quick tour review and questions and I guess spoilers (do we have to do that still)

Just got back from Spring Awakening here in San Diego. I got to sit on stage. It was awkward at first sitting up there before the show started and walking to my seat and stuff. But after the show started it felt like a regular seat. I didn't realize some of the ensemble members sat there pretending to be audience members because when the girl next to me got up and sang it scared the crap out of me. My only complaint about sitting on stage is that I couldn't quite understand some of the dialogue. When their backs were turned to me it just sounded muffled and I guess I missed some plot points cuz I had to go on Wikipedia (yeah i know it sucks but it still kinda helped) for synopsis. So these questions were based on the synposes from Wikpedia. So at what point do they find out their friend is sexually abused by her father? I was under the assumption she was only physically abused. Can someone quote a dialogue line that i possibly missed? And what happened to Isle that made her be homeless or a free spirit? Was all that explained in that one scene with the girls? And why did Mortiz flunk, I thought he actually passed his mid-terms?

Some other random questions based on Wikipdia... is it me or is the act 2 opening song and the second song after that switched on the CD? I think Guilty Ones opens the act and then Mortiz/Isle's song after. And Wikipedia also said there was a hidden track. Is that on itunes only and not on the CD cuz I don't have it.

OK so as for the review... I was very impressed with this show. Definitey going to recommend it to my friends and will hopefully get to see it in Los Angeles in a couple months. It's wonderful to finally hear the songs performed in the context of the show and it makes more sense.

Kyle Riabko was excellent as Melchior as was Blake Bashoff as Mortiz. Probably the two standouts for me in the cast. Sitting on stage and seeing their facial expressions and their tears just made the musical a lot more powerful than I could ever imagine. The adult men and women actor and actress were also amazing. The actor was absolutely heartwrenching during the funeral scene. Wendla was very good but I couldn't get Lea Michele's voice out of my head. It was easy for me to hear Kyle and Blake's voice but for some reason Lea's voice is just imprinted in my memory (as well as her looks because Lea is freaking stunningly hot!). Did this show win best choregraphy? What did this show beat out because the choregraphy did not stand out to me. I mean, was there REALLY choreography at all?? And I don't know about anyone else that has seen the tour (could be same for Broadway) but damn these actors look like they are 12 or 15! The girl playing Thea, i think, the girl with the pigtails looked 12! I know most are in college or just graduated high school but geez... but I will say they are freaking talented! The ensemble just absolutely is the best thing about this show. They are so perfect together and I'm really looking forward to seeing it again... i hope...

and on another note....

What's up with selling souvenir program books with a damn bag??!? Even when I saw a Chorus Line a couple weeks ago I had to buy the bag... it's ridiculous. I don't need two of the same bags!! How come you just can't buy a program by itself anymore??

and the teeny bopper fans were in full force tonight! i was sitting on stage so I of course could see the audience... well during Totally Fuc*ed there was a row of a bunch of girls (and a couple guys) who were basically rocking out to the number but you could totally tell they just wanted attention from the cast... argh! haha.. oh well...

so why do they flunk him?

"I mean, was there REALLY choreography at all??"

Yes. It is not the traditional choreography you see in shows like Chicago, 42nd Street, Hairspray, etc. I think the reason why it won Best Choreography at the Tonys was because the movements really emphasized the angst the teenagers were feeling. And you could really feel their energy (especially if you were sitting onstage). Technically, was it the best? Probably not, but I think it was effective in revealing what they felt inside.

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He does pass his finals. This causes a problem for the headmaster and teacher since there is only room for 60 students to be promoted, and they have 61. Since they thought Moritz would fail, it wasn't a big deal, but when he passes, they need to rectify the situation and they do so by lying and saying that he failed. When he commits suicide, they try to avert blame by bringing out Melchior's note.

I think Bill T. Jones' choreography for SPRING AWAKENING is innovative and magnificent.

For once, the movements being made by the performers actually fit the characters' motivations and flow with the narrative storytelling.

I felt the same way about Andy Blankenbuehler's choreography for IN THE HEIGHTS.

SPRING AWAKENING's main competition for Best Choreography at the Tony Awards was Rob Ashford's traditional, run of the mill choreography for CURTAINS, which, while it was very pretty and dance-y, wasn't even close to as effective as Jones' creations for his characters in SPRING AWAKENING.

Coincidentally, IN THE HEIGHTS' main competition this past season was also Rob Ashford, this time for CRY-BABY, offering traditional choreography that filled out the dance numbers very well, but didn't assist in the storytelling the way that Blankenbuehler's work did for IN THE HEIGHTS.

We're at a point where -- thankfully -- because of the movement innovations of choreographers like Bill T. Jones and Andy Blankenbuehler, higher standards are now being set for what is to be labeled the "Best" choreography. One show's dances may be the prettiest and may work in filling out the dance numbers, but if there is another show that uses movement throughout the entire piece to assist in telling about the characters' backgrounds and where their emotions lie at any given moment, the entire genre of musical theatre is moved forward as a result, and those creators' works are to be considered the best.

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He does pass his finals. This causes a problem for the headmaster and teacher since there is only room for 60 students to be promoted, and they have 61. Since they thought Moritz would fail, it wasn't a big deal, but when he passes, they need to rectify the situation and they do so by lying and saying that he failed.

Moritz passes his midterms not the finals. The teacher makes a point of telling the headmaster that this won't happen again because she'll be grading the final exams personally. The headmaster is pleased because it means the fine reputation of the school would be upheld.

Jones' choreography was the most exciting part of the show, much like Blankenbuehler's choreography in In the Heights.

But that's just my opinion.

Another voice heard from.

I agree.... very well said, Foster.

My only complaint about sitting on stage is that I couldn't quite understand some of the dialogue. When their backs were turned to me it just sounded muffled

FWIW, I saw the dress rehearsal last night in San Francisco from the 4th or 5th row of the orchestra and thought the same thing. I didn't miss too many huge plot points, but there were times I had to piece things together. I'm not sure if the girls in the cast had better diction or just better mics, but this seemed to be a problem with both the adult men characters and a few of the boys.

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Can someone please give me the pros and cons as well as the setup of the audience sitting on the stage? Kind of new to broadway but am looking forward to the tour coming to Seattle so details would be great!

Foster, very well said. That's exactly what I felt about Spring Awakening and In the Heights winning the Tony for Choreography. In both shows, the choreography helps with the flow of the story and is almost a character in itself. It's all very exciting stuff.

~Steven