THE HANGOVER REPORT – Deaf West’s devastating revival imbues SPRING AWAKENING with newfound emotional depth

IMG_4307Is it too soon to bring back the musical Spring Awakening? This is a question I asked myself as I walked into the Brooks Atkinson Theatre last night to reacquaint myself with the troubled teens of late nineteenth century Germany. I have vivid and fond memories of the original production, which opened less than a decade ago and went on to become one of the defining musicals of the decade. Well, rest assured, Deaf West’s emotionally potent revival, brilliantly directed by newcomer Michael Arden, is inspired, adding layers of emotion and meaning to a show I thought I knew well.

Duncan Sheik’s music sounds as gorgeous as ever (although the sound design, at least in the front orchestra, was a little muddled), and Steven Slater’s book is served exquisitely by the use of ASL. Indeed, the most intense scenes in the show are completely signed (with projected surtitles) and daringly performed in total silence. However, the real star of the show is Michael Arden’s striking, accomplished direction, which seems to have been inspired by Man of La Mancha – in this production, the only way these kids can cope with adult and societal oppression is by using theater to tell their stories. Hence, the production finds its power in the use of shared storytelling as a means of terrifying catharsis and collective cleansing. The results are as devastating as anything in the Greek tragedy canon. Mr. Arden’s work is backed by a solid design team (the dour, towering prison-like set is by Dane Laffrey, and the aggressive lighting is by Ben Stanton), as well as Spencer Liff’s inspired choreography. Mr. Liff ingeniously pays homage to both Bill T. Jones’s emotive original choreography and the physical beauty inherent in signing.

The young cast is a marvel, and they cohere as an ensemble even more than the original company. It’s unfair to highlight anyone in particular, but kudos must be given to the two tragic “leads”, Austin P. McKenzie as Melchior and Sandra Mae Frank (sung by Katie Boeck) as Wendla, who both present their characters with a touching purity and heartbreaking authenticity that moved me deeply. They look uncannily convincing in their adolescent roles, to boot. Although I missed John Gallagher, Jr.’s idiosyncratic energy in the role of Moritz, I was affected by Daniel N. Durant’s hopeless, sad-eyed interpretation of the role (voiced by Alex Boniello). Patrick Page, Russell Harvard, Marlee Matlin, and Camryn Manheim as the adults in the cast skillfully bring individuality to their various roles. Finally, I must also mention the small but inspired turns given by Andy Mientus (a deliciously seductive Hanschen) and the handicapped Ali Stroker (a sparkling presence as Anna).

HIGHLY RECOMMENDED

 

SPRING AWAKENING
Broadway, Musical
Brooks Atkinson Theatre
2 hours, 25 minutes (including one intermission)
Through January 24

Categories: Broadway, Theater

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