After more than a year of waiting, my high expectations of experiencing the exploitive sensation that is Spring Awakening is nothing if not utterly fulfilled.  Currently playing at the Denver Buell Theatre, the tour is a direct mixture of everything musical, taboo, emotional and ultimately sensational.

Based off the play of the same title by Frank Wedekind, the work was written in 1890 but did not premiere until 1906.  Its controversial portrayal of sexuality, suicide, child abuse, abortion and other taboo subject matters led to it being banned, as it continues to be in certain occasions.

When Duncan Sheik and Steven Sater came together to put contemporary music to this story, the result was a Tony award winning musical about the folly of ignorance that continues to touch people’s hearts and minds.

It’s All in the Details

Given its modest beginnings, the set and production remains intimate in atmosphere despite its transfer to much bigger venues.  Thus, the choreography and lighting are heightened in detail and pacing.  Everything is timed to a tee and the result is a tight yet breathtaking example of music aided by everything around it.

Yes, this is musical theatre (meaning everything above should be a given), but Spring Awakening manages to design its lighting with the unique tone of a rock concert mixed with Romeo & Juliet romance.  Just like the clash of the period story with its modern music, there’s something familiar yet exhilarating about the production that–not surprisingly–is a big reason why the musical stands out in the first place.

Spring Awakening is not extravagant like Wicked, but it is equally, if not more exciting as a visual piece that only adds to the emotional impact of the music.

Musical Chairs

In keeping with its original in-the-round set-up, the show has roughly 20 seats planted on the stage with a live band in between.  While some are saved for incredibly fortunate theatre-goers, the rest of the chairs are actually for the actors.  They represent an oddly voyeuristic audience (especially from my perspective) who would regularly break into song and eventually transition smoothly into choreography before taking a seat when dialogue begins.

While some of the intimacy and energy is lost on those of us seated in the perscenium, it nevertheless emphasizes a collaborative experience that encourages audience participation, at least in the form of cheering and bobbing our heads.  Even more experimental is dressing a few actors in modern clothing and singing backup like members of the audience have actually caught the rock fever.  Since they don’t feel quite involved in the story and they are not really part of the audience, they tend to get lost in the shuffle, but remain another interesting element of the show.

The Warning

As I entered the Buell Theatre, a warning post forewarned me of semi-nudity and adult themes.  As I progressed to the second floor, another sign cautioned the heavy usage of strobe lights in the show.  By the time I got the third floor (where my seats were), I unsurprisingly received a third notice of the adult nature of Spring Awakening.  OK, point taken.

However, even with my thorough knowledge of Spring Awakening, certain parts of the musical still managed to make me feel uncomfortable.  There will always be the few who have unknowingly walked into a show which they later consider to be a travesty.  Ultimately, Spring Awakening is unapologetic in its portrayal (visually or otherwise) of its contemporary themes, and it’s not everyone’s cup of tea.

The Impression

Spring Awakening is not what I would call subtle.  Rather, it is a piece I admire for the opposite reasons.  While some would call it abrasive, I applaud the weaving of brilliantly sentimental music mixed with a period that we’ve never experienced.  It exposes thoughts and sentiments that many of us can relate to but have never displayed in such a direct manner.  It has made an impact at the Buelle Theatre.  How you take it is up to you.

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