To paraphrase Mark Twain, nothing is certain in life but death, taxes, and awkward adolescence. Even if the subject matter of Spring Awakening predates the Broadway premiere by over a century, it still manages to tap into the angst of a generation who was struggling to make sense of their changing world (and bodies) through a prudish culture that would rather hide truths behind curtains. The results are a dark and moody musical that isn’t afraid to defy traditions in very explicit ways. The music is profane. The orchestration is closer to rock music that blares while the cast jumps in harmony to the verbatim lyrics, “Blah, blah, blah!” For people who have that inner guilt still inside them, the show flies like a tornado wrecking everything with urgency.
The Chance Theater’s production presented the story with an especially claustrophobic set that purposely finds actors navigating between roles of acting and musical accompaniment. The feat is impressive to witness and often finds the ensemble numbers feeling richer. The powder keg nature builds to piercing harmonies that clarify that everything isn’t going well while highlighting how even the most intimate of acts feel like they’re surveyed by adults who don’t have their best interest in mind. Spring Awakening makes the most of a stage that offers little hiding room, building tension in the few dark recesses while certain truths come to light.
The cast also brings a poignant energy to the mix as they capture the mix of passion and disgust with equal measure. The limitations force some clever workarounds, especially in scenes where additional props are involved. The ability to jump with reckless abandon is also impressive to watch as the synchronized carelessness elevates the material into something more interpretive. For those familiar with the material, it also allows for some ominous undertones to form and create a growing sense of pain alongside the more comic moments. The struggle to survive is one prominent in the show, and it’s a credit to all involved for never making it feel like too much.
As suggested, this is a show that confronts a lot of difficult topics. Several sexual scenes are tastefully handled and play more into the desire of characters discovering love for the first time. Even the objectifying builds a way to personal guilt and vulnerability that deals with more adult outcomes. The tragic nature ratchets up in Act II and leaves the audience on somewhat of an unexpected note. It’s not the conventional ending that the upbeat numbers would suggest. In fact, anyone expecting to smile after analyzing those lyrics may be mistaken. This is a show meant to create thought about an uncertain future, and one that may not be dissimilar from more concurrent oppressive systems.
Even with its bratty teenage behavior, Spring Awakening is one of those evergreen shows that speaks to what drives a person to find their own identity. Not only that, but how does one make peace when they discover that it may not be enough to be accepted by others around them? It’s a drama that explicitly states its points and demands compassion for a difficult time in any person’s life. Not having someone there to help guide them makes it worse. The Chance Theater’s production is meticulously planned to the point that everyone feels more unified, where the interchangeable nature of the band suggests solidarity. There is a need to have things get better. A century later, the plot asks what has changed and if these kids are just acting silly. The answer, unfortunately, is still no.
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