When I first saw the musical “Spring Awakening “Off-Broadway in June 2006, I was not impressed. I thought then, and continue to believe, that Duncan Sheik and Steven Sater sterilized Frank Wedkind’s provocative text and substituted substance with an endearing rock musical score. I saw nothing innovative or challenging. Obviously I was misguided: after its move to the Eugene O’Neill on Broadway in December of the same year, the musical garnered eight Tony Awards and four Drama Desk Awards. Unwilling to be completely isolated from Broadway bravura, I listened to the rock-infused alternative rock score and kept my thoughts on the musical as a whole to myself. Until now.
Marvell Rep’s bold and fresh production of Frank Wedkind’s “Spring’s Awakening” confirms my belief that the Broadway musical had short-changed Wedkind’s raw depiction of teenage sexual and moral angst. The original play (translated by Eric Bentley) is a challenging and often disturbing examination of “the sexually oppressive culture of nineteenth-century Germany and offers a vivid dramatization of the erotic fantasies that it breeds” (Elizabeth Boa, 1987).
The “children” in Marvell Rep’s production are played by young actors – another bold choice for Marvell. It is touching to see these energetic actors effectively portray teenagers from the nineteenth century who were struggling with many of the same issues they confront in 2012: the issues of individuation and separation in adolescence; sexuality and sexual status; child abuse, including rape; suicide; abortion; and bullying.
The rich, well defined characters in “Spring’s Awakening” and the aforementioned conflicts drive a complicated and challenging plot which the Marvell Rep cast handles with a sophistication and craft well beyond their years. It is impossible to rehearse the entire plot of this play; however, it is important to highlight the scenes which showcase the power and intensity of this Marvell Rep production.
“Spring’s Awakening” begins with a scene between Wendla Bergmann and her mother about human reproduction. Wendla needs to know the details of human sexuality and her mother is unable to share those details with her daughter. This conversation continues later in the play and because Wendla never gets the information she needs, she gets raped by Melchior and becomes pregnant. Ultimately, Wendla’s mother invites an abortionist to their home whose “remedies” kill Wendla. Lizzy Declement’s stunning portrayal of Wendla’s adolescent angst and Anne Newhall’s embarrassed and prevaricating Mrs. Bergmann foreshadow the pain and suffering Wendla’s peers experience because adults refuse to treat them with the respect and concern they deserve. In the rape scene, Giuseppe Bausilio’s performance as Melchior exhibits the perfect blend of inappropriate male aggressiveness and adolescent wonder. At the same moment, Wendla and Melchior have no idea what is happening and yet understand exactly what has transpired.
Moritz Stiefel ties for last place (60th) in his school and is unsure he can perform at a level which will assure him a place in the following year’s class. Additionally, he is not handling his adolescent interest in sexuality and feels he lacks the knowledge he needs to deal with his feelings. His friend Melchior provides the information he needs in a treatise replete with illustrations and it is this treatise which is later blamed for Moritz’s suicide. Dalton Harrod is the brilliant young actor who brings Moritz’s inner turmoil to an onstage volcanic performance.
Under Lenny Leibowitz’s guiding hand, the entire cast of “Spring’s Awakening” shines and skillfully brings every nuance of Wedekind’s translated script to a perfect reality. All the grit, the pathos, and the ethos of the drama are portrayed honestly and carefully. Special mention (in addition to those above) goes to Steven Braunstein and Ethan Navarro. Mr. Braunstein’s Act II, Scene 3 portrayal of Hanschen Rilow’s attempt to refrain from masturbating is the perfect blend of teenage male sexual angst and self-deprecating humor. And the touching scene with Steven Braunstein and Ethan Navarro as Ernst in Act III, Scene 6 is a gutsy pair of performances by two brave young actors willing to use their craft to beautifully enact the deep love between two adolescent boys.
Kudos also to Charlotte Astrid for her compelling performance as Martha: she leaves the audience spellbound as she relates Martha’s secrets to Thea and Wendla early in Act I. Martha is routinely beaten and raped by her father and Ms. Astrid’s use of pathos is exacting and paralyzing. And equal acclaim to Rosalinda Perron who as Mrs. Gabor creates a character who empathizes with her son’s and Moritz’s difficulties in school and in relationships and shows both unconditional and nonjudgmental love.
Throughout this performance, the entire cast remains focused and determined to give their best efforts to enliven this too often neglected masterpiece of theatre. Marvell Rep’s “Spring’s Awakening” reminds the audience in an uncompromised way of the harsh reality of adolescence not only in nineteenth century Europe but in twenty-first century America where teenagers still are discounted by parents and educators and continue to struggle with issues of personal identity, sexual identity, bullying, and verbal, emotional, and sexual abuse. This is a must-see play.
SPRING’S AWAKENING
Presented by Marvell Rep at TBG Theatre. By Frank Wedkind (Translated by Eric Bently). Directed by Lenny Leibowitz. Scenic Design by Tijana Bjelajac. Lighting Design by Nick Houfek. Costume Design by Susan Nester. Sound Design by Marisa J. Barnes.
WITH: Leanne Agmon, Charlotte Astrid, Giuseppe Bausilio, Thomas Benton, Steven Braunstein , Logan Riley Bruner, Solon Carter, Lizzy Declement, Dalton Harrod, Angus Hepburn, George M. Kennedy, Terren Klein, Bill Krakauer, Lauren Lopes, William Metzo, Ethan Navarro, Anne Newhall, Rosalinda Perron, Howard Pinhasik, John Ramaine, Larry Saperstein, Geddeth Smith, and Jill Usdan.
“Spring’s Awakening” plays at the TBG Theatre, 3rd Floor, 312 West 36th Street (Just off 8th Avenue), New York, NY. The play runs through Sunday November. For complete performance information, including ticketing, visit http://www.marvellrep.com/
Permalink | Posted by David Roberts on Monday, October 15, 2012
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