By Delia Paunescu
A while ago, a little play called “Rent” came onto the Broadway scene. It had radical ideas of ideological independence and holding true to “la vie Boheme.” As young people flocked to its ideal of embracing individuality and remaining true to oneself, a cult of what is still known as Rent-heads was formed. Looking at the crowd that gathers nightly at showings of Broadway’s newest musical sensation, 2007 Tony award-winner, “Spring Awakening” seems to be developing a similar status.
Not only are both shows tremendously successful, but both cover the hardships of being a young adult in a world that just doesn’t understand. The current show is based on a play of the same name written by Frank Wedekind in 1895, one which was banned for most of his life because of its ideas of sexual freedom and the problems of puberty. While decidedly removed from the modern day-the play is set in a provincial German town in the 1890s-this rendition manages to remain relevant to issues facing today’s youth.
“We’ve all got our junk and my junk is you,” sings one of the German schoolboys in a typical bout of ennui often plaguing those in their teens.
As lead male Melchior, Jonathan Groff is the perfect alpha male. He is insightful, sensitive and stoic. His female counterpart Wendla (Lea Michele) is a little more annoying, as 16-year-old girls tend to be, but Michele’s acting gives the girl an appropriate wide-eyed wonder. When that na’veté brings trouble to the confused couple, both deepen their roles, turning them into the award-winning performances audiences have come to expect.
But it is John Gallagher Jr., as the screw-up Moritz, who really steals the show. His electric solos prove that with the proper talent, anyone can be a rock star.
It is this rock star fantasy that keeps audiences coming. Bringing microphones out of their coat pockets, the boys of “Spring Awakening” tap into the fantasy of being in a musical we’ve all had since the iPod let us live in a self-created movie montage.
The stage, as designed by Christine Jones, is almost bare, but it is the scattered decoration on the back wall that really makes the scene. With the lighting design of Kevin Adams, the idea of Chekhov’s gun is really taken to heart, and the stage is transformed for different scenes by highlighting various items on the wall.
With choreography by Bill T. Jones that often doesn’t go past the dance party most have dorkishly indulged in, “Spring Awakening” makes sure to show the audience that despite their period costumes by Susan Hilferty of knee pants and petticoats, these kids are just like everyone else.
Growing up is awkward, but this play portrays these most awkward teenagers in a very beautiful way. Kids are allowed to express their innermost feelings, albeit in a sadomasochistic way at times (this is still Germany after all), and with the artful direction of Michael Mayer, audiences realize that no matter what, no true feeling is ever wrong.
As main characters Melchior and Wendla finally consummate their confused yet innocent love affair, audiences realize that a world without open communication of one’s feelings has dangerous consequences. (NYTimes.com)