A Review

The Pain Of Living

By R. J. Donovan

It's not an easy task for a rock musical about sex, suicide, abortion, homosexuality, abuse and masturbation to win over audiences across the board, but since opening in 2006, "Spring Awakening" has done just that. It's skillful presentation, aching performances and dynamic music make it a winner.  With choreography by the legendary Bill T. Jones and direction by Michael Mayer, it also received eight Tony Awards including those for Best Musical, Direction, Choreography, Book and Score.

In terms of rock musicals, "Spring Awakening" can be likened to "Rent" in that both are adaptations of previous material.  With "Rent," Jonathan Larson took the premise of "La Boheme" and brought it full force into the present. "Spring Awakening" is based on an 1891 German coming-of-age play by Frank Wedekind. Unlike "Rent," it leaves its teenage characters where they were -- in 1891 -- and uses contemporary rock music by Duncan Sheik and Steven Sater to reveal their inner thoughts and turmoils.  The effect is exceptional.  Where "Rent" can come across as raw, "Spring Awakening" offers tremendous heart, even though it touches on very complex material. 

In leaving the story firmly planted in the 1800's, the creators have only heightened the fact that the problems of growing up never change.  Technology may have advanced the way we live and interact, but the reality is that love and angst and innocence and personal discovery are as challenging and as disturbing as ever. The other interesting point the show makes is that, then as now, parents try to shield their young from the brutalities of the world. And then as now, that shield often destroys the very thing it looks to preserve.

Without an overture, the show opens cold. Young Wendla is standing onstage singing the ballad "Mama Who Bore Me," innocently exploring her body over her nightgown.  She questions where babies come from, and gets no help from her Mother, who's far too uncomfortable to give her the specifics. 

The boys, meanwhile, are in school studying Latin.  Frazzle-haired Moritz has missed providing his teacher with the required answer, which sets the instructor off on a torrent.  But more pressing than Latin for Mortiz are his own sexual questions, which his friend Melchior helps address. 

With the boys dressed in turn of the century outfits, the lighting shifts, they pull microphones from their coat pockets and deliver a driving version of "The Bitch of Living" (photo above). We soon see that the nervous and flush-faced Mortiz is doomed in more ways than one.  And that Melchior will serve as the pivotal character around which the story swirls.

As the plot unfolds, the young friends rely on each other for information and support, while the adults do their best to shame, frustrate and discourage them.  (All the adult roles are played by Angela Reed and Henry Stram, both of whom are remarkable in their revolving door of characters.)

Among the musical high points are: the previously mentioned "The Bitch of Living," which sets the tone for the juxtaposition of story and music;  the tender exploration of "The Word of Your Body," addressing physical desire between Wendla and Melchior;  "The Dark I Know Well," which deals with a daughter's physical abuse by her father;  "I Don't Do Sadness" played against the haunting "Blue Wind;" a very tender "Left Behind" and the straight forward, "Totally Fucked."

The cast of young performers is wonderful.  While all the roles vary in size, each actor brings a memorable touch.  And each is warmly believable.   Kyle Riabko (above) is Melchior, Christy Altomare (above with Riabko) is Wendla and Blake Bashoff (at left) is Moritz.  Joining them are Sarah Hunt as Martha, Steffi D as Ilse, Gabrielle Garza as Anna, Kimiko Glenn as Thea, Anthony Lee Medina as Otto, Andy Mientus as Hanschen, Ben Moss as Ernst, and Matt Shingledecker as Georg.

As the adults, Angela Reed (with the look of Meryl Strep) is particularly memorable as both Melchior's mother and a tightly wrapped school teacher, while Henry Stram is unforgiving as Moritz' father.  (Side note and spoiler alert -- Stram's performance was so intense that, from my fairly close seat, I could see the tears streaming down his face as he stood at Moritz's grave.)

Just as the story and music present two opposing pictures, so too, do the set (by Christine Jones) and lighting (by Kevin Adams).  With two rows of audience members sitting in straight back chairs on either side of the stage, the playing area is one open space, backed by a brick wall decorated with an electric blend of objects and armed with church-like arches for entrances. Lit from above during the Victorian scenes, the look is reminiscent of an old photograph.  But when the music flares, neon color is splashed everywhere, aided by the very effective dropping of single bulbs that blaze with intense blue and red shards of light.

In a special side note, bravo to the band. They're located upstage at the back of the playing area adjacent to a wall moounted blackboard that contains a hand scrawled list of the musical numbers. Aside from their being first-rate musicians, there's another whole show to watch as Jared Stein conducts with animation from the keyboards.

Bottom line -- "Spring Awakening" is vivid and poetic.

"Spring Awakening " is at The Colonial Theatre through May 24. For information, call 1-800-982-2787.

Production Photos: Paul Kolnick

-- OnStage Boston

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