Very quickly becoming a modern classic, this rock music [used in the broadest classification sense] Musical is a very similar idea stylistically to those musicals composed by another current darling of the MT repertoire, Lin Manuel Miranda. The story is set in the past, and yet, the whole feel, including the music and language, is highly contemporary. This particular musical by Steven Slater (lyrics) and Duncan Sheik (music) is adapted from the tear-jerking fin-de-siecle play of the same name [Frühlingserwachen] by Frank Widekind.
In a nutshell Spring Awakening is about first love, first sex and sexual awareness among a community of puritans living in Northern Germany in the late 1800s / turn of the 20th century. A community which, due to their religious and social beliefs, offers no help to those teenagers going through puberty and asking questions, leaving them to their own devices which can have only tragic outcomes.
I have seen this Musical a couple of times before - the last time being the critically acclaimed production at Hope Mill Theatre in Manchester, however, this evening's production for me was the strongest I have seen it. The story, including some of the lyrics, were much clearer and more poignant this evening. Perhaps this is because it was performed by those who are not that far away from the playing age of the characters? Or is it because the staging was so intimate? or is it that the cast had truly embodied these roles and brought out nuances in these characters hitherto unseen by me? I would suggest it is all three!
The strong cast was headed by Zahid Siddiqi as Melchior Gabor. I have seen Siddiqi many times performing with MUMS at The Martin Harris Centre, but this was the first time I have seen him performing in a Musical, and singing music which is far removed from the Classical repertoire of my previous encounters with him. I was thrilled, his classically trained technique helped him here to cover and not belt, and in so doing, the lyrics were far more plaintive. Playing opposite him was Kate Gabriel as protagonist, Wendla. Her hopes and desires being emotively wrung out of her every sentence. it was a tragi-heroic performance which reminded me at times of the stoicism of Jean D'Arc and at others the fervour of Ophelia. Jack McCartney was superb in his interpretation of the impetuous but sexually naive Moritz Stiefel, whilst the ensemble company excelled with smaller roles, solos and chorus work. It is a true ensemble musical in that regard.
My only real negative criticism of the performers is that the two actors playing the adult characters (Sofia Armelia and Tom Bass) could have afforded to make their separate characters a little more different and exaggerated. The lack of costume change, and the speed at which these characters needed to change necessitates a more bold and obvious change of voice and / or body language.
The staging was interesting, using traverse formation [audience on two sides of a long rectangle with the cast using the central 'catwalk'] - a very brave decision as this is easily the most difficult stage configuration on which to direct and work. On the whole this worked really well, and with the band out of the way in what is normally used as the 'stage' the sound levels this evening were much more level and clearer than they have been in previous shows. (although there were a couple of issues and crackles especially in the second act). The only real disadvantage with this staging was the entrances and exits. Walking behind the rows of audience each time was noisy, clunky, and distracting.
Directing this was Grace Johnstone assisted by Oonah Johnson, and they handled these very difficult themes excellently and creatively. The musical shows suicide, child sexual and physical abuse, abortion, and many other themes which audiences may find disturbing, but handled well and with maturity (as they were here) the audience will be sympathising and emoting with the cast (as they were here). They also very cleverly introduced quite a lot of humour to the opening scenes which has been missing from my previous visits to this show, and this made the descent into tragedy and the denouement even more heart-wrenching.
It certainly is not one of my favourite musicals, and it is a hard watch; but UMMTS {that's The University of Manchester Musical Theatre Society} have produced a vital, raw, earnest and damned good interpretation of it, and comes highly recommended. Congratualtions to you all!
Reviewer - Matthew Dougall
on - 4/5/19
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