Spring Awakening is a new rock musical with a gritty, century-old storyline. If you like your musicals shocking, funny and finely-acted this is the show for you, writes Kerry Ann Eustice.
Spring Awakening serves as a rude awakening to any teenagers who think their angst and experience is misunderstood or exclusive to their own generation.
Themes from the new rock-musical – based on Frank Wedekind’s controversial 1891 novel of the same name – have lost no power or relevance during the past century.
It may be an old story, but that’s not to say this show isn’t designed perfectly for young theatregoers.
Its young, beguilingly-talented cast presents a story of 19th-century adolescents and their misadventures as they grapple with their emerging sexuality.
Far from a tongue-in-cheek Carry On-style romp, Spring Awakening is a gritty and gripping portrayal of young adulthood featuring heartbreaking sexual abuse, candid portrayals of masturbation, mindless suicide and back-street abortions.
It’s uncompromising portrayal of youth, sexuality and loss render it a close neighbour of Skins – but on stage.
As a production born on Broadway, at times the score feels extremely Americanised. The lively and rockier numbers – although still fresh, funny and catchy and brilliantly-staged – in particular did not match the edgy performances and storylines, which are quite at home in a London theatre. If it wasn’t for the swearing and adult content, the music wouldn’t be far out of place on a Jonas Brothers album. Something younger audiences will no doubt love, though.
Yet, there’s plenty of humour in these up-beat tracks. The titles say it all; My Junk, Totally F***ed. Iwan Rheon (as the story’s too tragic anti-hero Moritz) was especially good for these performances, demonstrating flair in the moody microphone grabbing moves and McFly-like rocker jumps.
The slower numbers, although not humming-them-on-the-way-home memorable, were far stronger. The sweetness and sadness of the likes of Blue Wind (gloriously sang by Lucy Barker) and Whispering were well matched to the tone of the piece.
Every note was perfectly performed by the ensemble. It’s near impossible to comprehend the fact most of these performers are making their West End debut. The leads are particularly strong; Emma Watson-alike Charlotte Wakefield as naive and yet spirited Wendla and Aneurin Barnard as the charismatic and clever Melchior. The pair’s romance (graphically depicted by an awkward but tender sex scene) is believable, touching and almost too tragic.
It’s a shame after so much effort crafting such characters and so many powerful moments leading to their demise, those who perish are ushered out of the story with little sensitivity.
But if the music and sadness don’t stay with you, the staging will. Both design and choreography are startlingly creative and many of the show’s set pieces as memorable as a first love. For example, at the height of his social and sexual frustration, Melchior is raised up on a wooden platform (a spot he later uses to address those urges) and performs The Mirror Blue Night, complete with a fast-paced but jerky routine - expertly choreographed to reflect his repressed emotions and physical urges. It’s a striking image – and one of many in the production.
Perfectly staged to enchant young audiences, Spring Awakening is a fresh, brave and must-see new musical. The most exciting show the West End has seen for a long time.
Spring Awakening at the Novello Theatre, Aldwych, London. Box office 0844 482 5171.
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