SPRING AWAKENING
SPRING AWAKENING: The New Rock Musical Coming of Age Tale, book and lyrics written by Steven Sater, music by Duncan Sheik, directed by Michael Mayer and choreographed by Bill T. Jones. Curran Theatre, 445 Geary between Taylor and Mason, and at the Orpheum Theatre Box Office on 1192 Market at 8th St., San Francisco or visit www.shnsf.com. Through
TEENAGE ANGST/SEX ON VIEW AT THE CURRAN
If “Spring Awakening” was created for attracting younger audience members, it has succeeded. It also has earned the dubious distinction of being called “Rude Awakening.” An oft heard question at intermission was, “How did this show win eight 2007 Tony Awards?”
The creators have taken an 1890 German play by Frank Wedekind, attempting to give it universality in a Rock n Roll generation, adding modern music and unique staging. The staging is very unique with some of the actors intermingled with audience members sitting in bleachers on each side of the stage. If this device is to emulate a Greek chorus, it is only partially successful. The major acting area is limited to a rectangular platform on center stage, a fantastic array of lights enveloping the entire space with an enthusiastic on-stage band. The actors nonchalantly withdraw hand-held microphones from under their clothing or drag stand-up mics from the wings.
There are three major teenage characters: Moritz (Blake Bashoff), (whose hair could be an advertisement of a “bad hair day”) who has deep psychological problems related to puberty and ejaculation. Best friend to Moritz, rebel Melchior (Kyle Riabko) who is well versed in the mechanics of sex and is a willing teacher. Wendla (Christy Altomare) who has reached puberty and has no idea “how babies are made” and does not understand her raging hormones. Angela Reed and Henry Stram play all the adult roles representing the adults who wish to maintain oppressive control of the youngsters.
We know we are in for an evening of sexual exploration with the opening plaintive song “Mama Who Bore Me” is beautifully sung by Wendla defining her ignorance about sex. Melchior’s status as a precocious one is revealed with “All That’s Known” before the boys join in to tell us of “The Bitch of Living” as the bounce off and on chairs to the overly amplified beat of the orchestra. The antics of musical conductor Jared Stein on the keyboards take a page from a Mick Jagger concert.
Following “The Word of Your Body” there is onstage intercourse between Wendla and Melchior that is repeated later in the play. Then there is a masturbation scene and a humorous homosexual encounter between two boys. The upbeat tempo of act one changes to drama and sadness as the participants must suffer their wayward actions. But the rousing, rollicking, ribald “Totally Fucked” number for the entire ensemble replaces sadness before ending on a hopeful note with “The Song of Purple Summer.”
Running time 2 hours 20 minutes with intermission.
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