Spring's Awakening review

Written in 1891 Germany, Spring’s Awakening must have been at the very least ahead of its time. It had a timeless quality that makes it relevant to this day. If it weren’t for the wardrobe, it could be set in Small Town U.S.A. Historically heavily censored, now at a time where Southpark is syndicated on network television the play is downgraded to mildly inappropriate instead of being overly offensive.

The play chronicles the struggle of biology vs. ideology, nature vs. nurture in school children coming of age. The struggle is pivotal in the development of Melchior, played by Gavin Reub, who doesn’t know how to deal with the urges of puberty. Lacking the wisdom that comes with age and experience, he finds it difficult to control himself.

Rachel Brow is immediately believable as Wendla, the 14 year-old girl who wants to stay a girl. She wants to better understand the world, but is in no hurry to grow up. While she tries to get her mother to explain where babies really come from, she really wants to know if the stork comes down the chimney or in the front door.



Andrew Murray plays Moritz, Melchior’s tortured sidekick. His troubles with school and naiveté with women is pivotal in his issues. He is the perfect Milhouse to Melchior’s Bart. Running through the whole range of emotions, sometimes in the same scene, Murray does a good job of projecting Moritz’s journey though the performance.

The story lines intersect enough to make the play connect, but there is still a disjointed feeling. There feels like too much going on. This can be attributed to trying to throw in scenes to shock 19th century theater goers rather than having everything tie in well. Issues of losing virginity, homosexuality and masturbation are just not that shocking in this more jaded time. Your average Family Guy episode is more offensive than the play.

Director Alyson Roux’s vision is clear in the beginning, but the story gets a little muddled at the end. The man in the mask, a figure that is seen in the background throughout the play, makes only limited sense. While clearly connectional, if he is a foreshadowing figure of death, that makes sense in three scenes, but not in two. If he is the Devil, that makes sense in a couple scenes, but not the rest. There were a few scenes that didn’t seem to add to the story, fortunately, they are quickly forgotten.

The end feels like a twist, but not the good kind like in the Sixth Sense. I was following up until the end and then I felt like I didn’t get it. I walked out feeling disconnected from the story and not sure how to tie in the last scene. Instead of tying it all up in a nice little bow, the play ended with more questions than it answered.

Well directed, the scene transitions were seamless. As a small production, some performers played multiple parts. David Kulcsar and Michael Lukins particularly standout. Kulcsar plays three different part in three distinct ways. Despite little changes visually, you can tell when he is Melchior’s father and when he is Dr. Fizzpowder. Tone of voice, body language and mannerisms change with each role. He was completely unrecognizable as the man in the mask. Kulcsar is also the one who most embraced that this was set in Germany.


Lukins played the five puppet professors. While jumping from one puppet to the next, like Kulcsar he was able to make each one a different character. The simple change of tone of voice and speaking cadence made each puppet distinctive.

Despite the controversy surrounding the early productions of the play, Spring’s Awakening can be enjoyed by a number of theater goers. There are parts that are inappropriate and funny for that crowd, but I think it will be bet enjoyed by the more cerebral theater connoisseur. After watching it with friend, you can retire to a coffee shop and discuss the themes and concepts and how they remain just as relevant today. If you are looking for something light and fun, this is not for you.

Spring’s Awakening runs through April 25 in the Cabaret Theater in Hutchinson Hall.
Up next is “Translations” April 18 - May 2 at the Penthouse theater and “Bat Boy The Musical” April 25 - May 9 at the Meany StudioTheater