The Hawk

Issue date: 10/3/07 Section: Entertainment

Adolescence ushers in a painful period of maturity, where the oncoming rush of hormones is met by confusion as we struggle to comprehend the changes. Suddenly, that stork story doesn't seem convincing as we stumble across the awkward truth behind the birds and the bees.

"Spring Awakening" explores these frustrations as confused and desperate 19th century teenagers attempt to understand new urges in a society where prudish parents are too embarrassed to discuss these adolescent sexuality issues.

Based on the 1891 German play by Frank Wedekind, "Spring Awakening" successfully transposes the controversial issues of that age to the present day. Gone are the baton brandishing composers and whiny violins; instead, "Spring Awakening" is acted out to an ensemble of rock pieces composed by Duncan Sheik with lyrics by Steven Sater. The soundtrack is reminiscent of the punk rock hits so popular amongst today's youth and is probably the genius of the entire musical, matching the angst-filled souls of troubled teens with an appropriate medium to carry the emotions across.

"Spring Awakening's" freshness lies in its uncensored and unbridled exploration of the sexual awakening of teenagers grappling to exist in a world distorted by puberty through various guises like rape, masturbation, and homosexuality. Sprite-like girls on the brink of womanhood and ravaged young men give a dramatic performance to a wonderfully choreographed and energetic performance.

Despite its dark undertones, there was a great deal of humor, a combination of moods and expressions that only excellent actors can emote. The cast played their parts brilliantly, adroitly combining childlike naiveté with adolescent angst with convincing realism. Melchior (Jonathan Groff) is the only one of the group who seems to fully understand the pubescent changes. Moritz (John Gallagher Jr.), shameful of his desires, asks Melchior to pen an essay detailing the mysteries of both genders; but when this article is found, dramatic consequences result. Wendla (Lea Michele), whose mother's unwillingness to educate her is to be blamed for her ignorance when she succumbs to her raging hormones, makes love to smooth-talker Melchior and gets impregnated. Subsequently, Moritz and Wendla end up being the two lambs sacrificed on the altar of decorum in a critical, traditional society where discussion of anything sexual is taboo.

As we moved from the fluorescent white lighting of the classroom to the neon-colored stage of the inner world of each character, the eclectic objects on the red brick backdrop were given meaning, each becoming individual symbols as characters belted out their frustrations through song. Clever lighting, extraordinary soundtrack, and wonderful acting aside, I found that the musical was not so much a development of each character as a bold statement against conformity. Character development, I felt, was not a strong point of the musical. Rather than being individual characters in the story, the actors were more like a medium through which broad adolescent anxieties were voiced, mainly through song.

That said, the musical did successfully deliver its message about the implications of ignorance (through suppression or otherwise) on the youth. I felt strong connections to the musical as I recollected my baby steps into puberty, as any member of the audience would when watching "Spring Awakening." The sensational production holds poignant messages every teen can identify with, and the magic lying in its much heralded soundtrack will have you on the edge of your seat. "Spring Awakening" has definitely redefined my take on musicals, and takes us away from the conventional lingua franca of traditional productions. In my opinion, "Spring Awakening" sets a precedent, raising theater productions to modern heights. With much conviction, I can say that I believe the musical deserved every one of its eight Tony Awards-a remarkable success considering its new status on Broadway.

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