Wildwood Summer Theatre is an all youth run organization that showcases the talents on and off stage of people between the ages of 14 and 24. It’s great to see these young men and women working together to produce theatre and when a request hit our inbox to come and see one of their productions we were encouraged that they wanted honest feedback on their work. Spring Awakening is a rock musical based on the 1891 German play of the same name and explores many aspects of teenage sexuality. The original production won eight Tony Awards and was revived on Broadway in 2015.
The stage at the Arts Barn is simply set with white flats, several seats and a coat rack, stage right. Music Director, Maddy Gershunkiy, has a live orchestra at her disposal and they are situated upstage center. The show begins with Wendla (Leslie Schneider) sat center stage as she delivers the familiar folk melody of Mama Who Bore Me. Schneider does a fine job vocally but doesn’t quite achieve the deep emotional connection the lyrics demand and the lack of movement in the staging contribute to the feeling of detachment from the material. She is joined by the other girls, Martha (Emily Gordon), Thea (Gabriela Schulman), Anna (Caitlin Barnes) and Ilse (Sanjana Taskar) who are all in fine voice for the Mama Who Bore Me (Reprise). Taskar is wearing an orange skirt, which sets the tone for the symbolic use of color in the show, and while the concept is a good one, it requires a more subtle way of presenting it as it becomes somewhat of a distraction.
A lack of character development is an issue throughout the production and is perhaps hindered somewhat by the interpretation of when the action is taking place. Director, Itai Yasur’s decision to transport the action from the late 19th century into the cell phone era is at odds with the dialogue and the sexual naivety of these teenagers. When Wendla and Melchior (Devin Cain) have sex at the end of act one the tension is broken and becomes anticlimactic at exactly the wrong time as Cain leaves the stage to get purple paint on his hands to smear onto Schneider. It’s a bold symbolic choice but ultimately one that doesn’t work without sacrificing the flow of the storytelling. Once we have embraced the use of cell phones, we can appreciate the way in which they are used to light the action in one of the most striking scenes of the second act.
The best performance of the night comes from Ben Simon in the role Moritz. Simon comes across a little too sweet at times but it’s one of the more consistent acting choices and he has a beautiful voice highlighted by the lovely mix to his falsetto.
The choreography of Danielle Burman is relevant and well-staged for the most part, although at times, such as in The Bitch of Living, it becomes too big (and presentational) for the moment and doesn’t best represent the inner feelings of the characters. In contrast, Burman gets the moment just right in Totally Fucked, injecting a much needed jolt of energy after the intermission. While at points this is a musically impressive show, and the orchestra does a respectable job with the sheer volume of music, there are pitch issues for Cain along with several other members of the cast. There were also projection and enunciation issues for some of the actors with Alina Gaynutdinova (also credited as Scenic Designer), playing the various adult women roles, particularly difficult to understand.
Yasur took some risks with his vision of the production and although they somewhat missed the mark on this occasion, it’s great that this opportunity exists for that kind of risk taking to occur – especially for a demographic that all too often disappears from working in theatre once high school is over.
#tothepoint Rating: 55/100
You can view a full breakdown of the allocated points here.
Ticket Price: $22
Value Review: -$7