All That's Known

Ah, the London Theatre. Known for its classic dramas and comedies, a rock musical based on a risque 19th century German play is not something you'd expect to see in London's West End. But 'Spring Awakening' played to a nearly-full auditorium last Wednesday and had to do three curtain calls because the applause was so overwhelming.

And while I've been a fan of the music since it came out a few years ago, and I've been aching to see it on Broadway, I thought the show itself was mostly well put together, but at times a bit too comical and even a bit disappointing.

I should mention that the actor who played Moritz in the production we saw was the understudy -- and you could tell. His acting was more immature than his characters' antics and he missed quite a few crucial notes in songs that I loved listening too on the soundtrack.

Him aside, the rest of the cast was great, particularly Aneurin Barnard, who played Melchoir brilliantly as the clever rebel with a heart of gold -- a far cry from the character Frank Wedekind created in his original work, but entertaining and wonderful nonetheless. The old-fashioned story is sucked straight into the 21st century through poppy, catchy rock tunes that allow the audience a glimpse into the characters' thoughts. The show is certainly not for timid audiences -- 'Spring Awakening' tells the story of a group of young teens experiencing puberty and sexual thoughts for the first time in a conservative 19th century Germany. I was impressed with how tastefully many of the scenes were staged and thought it did a beautiful job of expressing the confusion and beauty of that time in our lives.

I would point out, however, that on several things, Duncan Shiek (music) and Steven Sater (book, lyrics) strayed from the original play in order to create a more marketable and popular musical. I won't go into detail, as it'll spoil it for anyone who wants to see the musical or read the play, but just know that he sold out a bit. Both versions work well in their own capacities (though my drama professor wasn't having any of the musical version -- she's a bit of a traditionalist I think), so here's my recommendation if the show is on your short list (Mom?): see the show first, then read the play by Wedekind and appreciate both for what they are.

I couldn't take photos in the theatre we saw the show at, so the included art is from the London 'Spring Awakening' website. It's of a rehearsal of the number 'The B*tch of Living'.