Broadway has always been known for turning a few heads.
In 1967 "Hair" was shunned for its anti-war rhetoric and depiction of the sexual revolution exploding in the real world around it. In 1994 "Rent" shocked theatergoers with its vivid exploration of AIDS in the inner city. Then in 2006 "Spring Awakening" seized America's youth and, even after closing on Broadway just a few weeks ago, has yet to let go, capturing teenage angst and presenting it against the backdrop of rigid19th century conformity and a kickin' pop-rock score.
"Awakening," showing through Sunday at the Palace Theatre, is inspired, and it's a must for anyone who's been—or still is—a budding pubescent adult.
The creators—Steven Sater, who penned the book and lyrics, and pop singer-songwriter Duncan Sheik (returning March 7 for a concert of his own at the Southern Theater), who is responsible for the music—garnered two of the musical's eight Tony Awards in 2007.
Based on the 1891 play of the same name by Frank Wedekind—which was banned in Germany at the time for its controversial depictions of sex, drugs, homosexuality and masturbation—the musical chronicles the journey of three teenagers as they traverse the treacherous waters of adolescence during the 1890's in Germany. Two don't make it out alive.
Christy Altomare is brilliant as the play's title female, Wendla, portraying her with a stark, but most importantly believable, innocence. The story begins with an ardent plea to her mother (Angela Reed—she and Henry Stram remarkably play all the adult roles) to tell her where babies truly come from, and ends with a complete sense of betrayal when she screams, "Why didn't you tell me the truth," after discovering she's pregnant.
As Melchior, Kyle Riabko depicts an overzealous boy trying too hard to be a man, caught up in the ideals of rebellion he's read in books. Being propped up on a pedestal by all those around him as the proverbial golden child only leads to his inevitable and much harder downfall.
Blake Bashoff, who plays Moritz, brings a timid outsider, with wild hair, just longing to be loved. Moritz's inability to understand, and control, his overactive hormones, along with the categorical rejection he receives from his instructors, and even his father, lead to a tragic and unavoidable end. His "Don't Do Sadness" at the top of Act II is one of the show's most heart-wrenching moments.
"Awakening" revels in controversy, which is where it truly shines. Nudity, profanity, incest, and suicide only add to the show's striking, yet realistic portrayal of the teenage psyche. And it also plays to today's teenage interests, with Sheik offering 20 amazingly relevant rock numbers. Also, speaking to Michael Mayer's brilliant direction, the male actors often pull handheld microphones out of their jackets while the entire cast gallivants about the stage like rock stars.
The only part of the show that gave me pause was the way it portrayed young homoerotism. The pairing of Andy Mientus as Hanschen, a vain seducer, and Ben Moss as Ernst, his innocent prey, deliver the play's best comedic moment. But the moment is presented in contrast to Melchior and Wendla's love scene, as opposed to alongside it, even using the same love ballad, "The Word of Your Body." Though adequately delivered, the scene presents the thought of a gay love affair as laughable, ultimately feeding into the stereotypes and prejudices the musical is trying to debunk.
The show was, among other things, a visual masterpiece. Christine Jones' stage designs feature a classroom of audience members the actors eject themselves from during their respective scenes. Susan Hilferty's costumes—the boys in prep school suits and the girls in neck to toe dresses—whisk you back to the time's uptight aura. Kevin Adams' lighting scheme brings florescent brilliance, helping the audience transition when the actors break the fourth wall and sing to the audience.
Said by some to simply be a cry for the importance of sex education for minors, "Spring Awakening" is so much more. The musical delves deeper, than any production prior, into the problems that still plague the world's youth, with a defiance and a brilliance that can't be missed.
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