Spring Awakening

Company: Sydney Theatre Company
Venue: Sydney Theatre, Walsh Bay, Sydney
Dates: To 7 March 2010

 

Sexual awakening

The Tony Award-winning Broadway smash hit, Spring Awakening, has finally made its way to the stages of Sydney. This knock-out cult classic from German playwright, Frank Wedekind has been revived from its roots as a provocative play into a venturous, no-holds-barred musical phenomenon. Orchestrated by Steve Sater and Duncan Sheik, Spring Awakening arouses audiences with its sexual impropriety and lewd adolescent behaviour. It is no wonder that this scandalous depiction of teenage curiosity in a small German town was banned for so many years.

Written throughout 1890 and 1891, Spring Awakening was not produced until 1906 by German director Max Reinhardt. The play did not surface again until 1917 after being banned for its raunchy content and so-called pornographic undercurrents. Considered one of the first engineers of expressionism, Wedekind’s primary style was based on the idea of experimenting with real life emotions as he “endeavoured to paint life as he saw it”. Over 100 years later Spring Awakening still manages to shock audiences with its strong visual tableaux and unrestricted content.

The customary sexual curiosity of teenagers is exercised in Wedekind’s intense, and at times comical, portrait of life in a small stifled town circa 1890s, where denial is their cardinal creed. Living under the watchful eye of repressive parents and teachers triggers intense sexual inquisition from young scholars Wendla (Clare Bowen), Moritz (Akos Armont) and Melchior (Andrew Hazzard). With little to no help from parents or superiors on the sexual front, the naïve Wendla and cultured Melchior exercise their instinctive urges, resulting in a cataclysmic surge of events that no one dared dream of. Carnal desires are stretched to the limit for some, whilst others battle the hard task of committing to a desired sexual preference. Helen Dallimore and Berynn Schwerdt, who alternate between playing the concerned parents and prudish educators of this small town, force the young inhabitants into a frenzied state of sensual desire.

Vigorous dancing and toe-tapping tunes are undeniably the play’s strong point as each character belts out their emotions through engaging lyrics. ‘The Bitch of Living’, ‘My Junk’ and ‘Get F*cked’ are just a few striking titles from composers Sater and Sheik, who have mastered a passionate array of musical numbers that collectively express the irritation and heartache of these deprived villagers. Bowen’s sweet and subtle temperament along with her vivacious vocal talent are the perfect combination for the role of Wendla; the sheltered young woman whose only knowledge of child-bearing is of course by a prompt delivery from the stork. Hazzard pleases audiences through the role of Melchior; the handsome and sexually cultivated man about town. His looks are pleasing; his voice is sharp and his ability to generate feelings of deep emotional torment, are all winning elements for his STC debut. Armont who plays the clueless Moritz arouses the energy on stage to even higher levels with his incredible voice and masculine stage presence. Edward Grey, Erica Lovell, Angela Scundi and Jamie Ward are just a few members of the spirited ensemble cast skilfully directed by Geordie Brookman, adding vigour and pizazz.

Stimulating lyrics, stylish choreography and impeccable ensemble work are what give this vivid musical its edge, not to mention a standing ovation opening night. With a comfortable and visually pleasing set of moveable timber walkways and small hanging lights designed by Anna Tregloan, close and intimate moments are able to be altered for the grander scenes in a matter of minutes. The costumes designed by Tess Schofield could be criticized as being too ordinary; however the period and circumstance of the play urge a different outlook.

Targeted at younger audiences, Spring Awakening will enliven theatre goers this season. Lewd lyrics, comical characters and precise ensemble work are features of a worthwhile musical that will hopefully grace our stages in years to come.

Haylie Pretorius