Spring Awakening: The Musical is coming to Peterborough, but is Peterborough ready for it?
After successful productions of Legally Blonde and Xanadu, The Anne Shirley Theatre Company is bringing one of the most controversial and notorious productions in the history of theatre to Market Hall for five shows (and to Trent University for one show).
Under the direction of Dane Shumak, an energetic and good-looking company explores topics such as sex, revolution, abuse, masturbation, atheism, homosexuality, rape, S&M, abortion and death in what is essentially a youth-oriented production. Needless to say, Spring Awakening isn’t for every audience, but it is extremely provocative and daring amateur theatre. It is sure to be one of the most talked-about productions of the year.
Originally written by German playwright Frank Wedekind in 1891, it’s clear to say that Spring Awakening was ahead of its time. A criticism of sexual repression, it tells the story of a group of young teenagers discovering their budding sexuality, with much of the drama centering upon the relationship between Wendla Bergman, a sweet and innocent young girl, and Melchoir Gabor, a free thinker who has declared himself an atheist and revolutionist.
Blunt, honest and provocative, the original production of Spring Awakening opened in 1906 but was immediately shut down after a single performance. An English translation was brought to New York City in 1917, where it was deemed by officials to be pornographic and only saw a single matinee performance before having its run prematurely ended.
It wasn’t until 2006 — over a century after it was written — that Spring Awakening found an audience when it was revived in New York as a musical.
Reverting back to its original form, the show was accompanied by music written by Steven Sater and Duncan Sheik. Quickly amassing a cult following amongst New York teenagers, the show won eight Tony awards, including the award for Best Musical.
However, time has not eroded the power of the subject matter. Spring Awakening still packs a powerful punch.
There is little doubt that Shumak and his cast and crew are passionate about Spring Awakening, and their energy and enthusiasm shows throughout the production. Backed by an eight-piece band lead by Justin Hiscox, the group takes you through the drama with a minimal set — allowing the characters, story and song to be all that matters.
Haley Rosenthal-Dubarsky takes the role of Wendala, while theatrical newcomer Kevin Lemieux makes his stage debut as Melchoir. Rosenthal-Dubarsky gives the show’s most potent performance, showing true potential of being the next diva of Peterborough theatre. A complete natural on the stage, she not only captures the sympathy of the audience, but gives some of the strongest vocal performances in the show. Every song she sings is a triumph.
Meanwhile, Lemieux is scrappy and likeable. Taking on a difficult role in one of the industry’s most notorious plays is a courageous task for his first foray into theatre.
Musically, when the performers are hot, they are hot. Unfortunately, when they are not, they are not. Still, the production has some extremely talented vocalists who help carry the production through.
Ryan Hancock, who gives a tragic performance as the production’s primary supporting player Moritz, has a series of powerful musical numbers which are amongst the highlights of the production.
Bronte Germain, who gives one of the production’s stronger performances as Bohemian classmate Ilse, and Samantha Hurl, in the role of Martha, step away from the girl chorus for a number of standout songs including a duet about abuse called “The Dark I Know Well”.
Meanwhile, Lucas DeLuca comes out of nowhere during a first act number called “Touch Me” and brings down the house with an incredible musical performance.
Possibly the most complex question about The Anne Shirley Theatre Company’s production of Spring Awakening is just who the intended audience is. The production is clearly not for everyone. It is not suitable for young children, but older audiences may find the drama to be redundant at times.
So there’s little doubt that this production is aimed at a youth-oriented audience. The angst and melodrama plays out like the most modern of teenage dramas, such as Degrassi or The Perks of Being a Wallflower.
Parents of pre-teens should be cautious due to some extremely raw scenes depicting violence and simulated sex. Despite this, I would encourage parents to go to Spring Awakening with their older kids because, by talking about the play, there lies an opportunity for discussion about a number of difficult topics.
But no matter how liberal-minded the audience, Spring Awakening is bound to trigger strong emotions. It is often an uncomfortable production that will both shock and entertain. Dan Shumack and his cast and crew should be commended for bringing such a risqué production to the Peterborough stage.
Spring Awakening opens at the Market Hall on Friday, March 14th at 8 p.m., with additional performances on March 15th and March 22nd (at 2 p.m. and 8 p.m.). There is also a performance at 8 p.m. on Friday, March 21 at Trent University’s Wenjack Theatre.
