“Spring Awakening,” now at the Manoa Valley Theatre, is storytelling at its very best — seductive, soul-shaking, stunning but occasionally shocking.
(Advisory: Remaining performances are on April 4, 5, 11 and 12; best seats are for the extension dates, April 11 and 12).
It’s a 19th century exploration, with 21th century sensibility, with extraordinary, vigorous choreography unifying the powerful laments in the text, punctuated with non-stop expressions of sex, love, and yep, rock ‘n’ roll. The ensemble seem to be in a whirling world of dance-centric movement.
The story deals with Germanic youths struggling with mental health, sexual drive, gay love; the constant uncertainty and obsession with s-e-x plays out meaningfully, meaning this is material for mature audiences. Not porn.
The issue of gay love lacks parental support and understanding, but consider the timetable.
Director Lurana Donnels O’Malley connects the dots in Frank Wede Kind’s play, with book by Steven Sater and music by Duncan Sheik and Sater. As she states in her director’s notes, “At its core, this musical is about the need for all kinds of genuine connects. Between parents and children. Between lovers. Between friends.”
And sensibly, the cast of 19 render expression of connectivity, in voice and in dance, which occasionally seem like now. Jonathan Clarke Sypert’s immersive choreography requires constant twists and twirls, physically and vocally, to bring life and a modern spirit to the music.
And the titles tell the tale: “The Bitch of Living,” “Touch Me,” “The Word of Your Body,” “My Junk,” “Totally Fucked.” Surely, adolescence is not easy.
The principal roles are Melchior (Isaiah Guendermann Graham, sweet voice, tears in his eyes, gentle romantic leading-man presence), Wendla (Ainsley Shearer, delicate personality, delicate singer, sensitive, projects innocence) and Moritz (Kyle Conner, energetic, emotional, unsteady, often like fireworks ready to explode). They portray normal students, filled with valid questions, seeking answers and satisfaction.
The lads are clad in private-school uniforms including snappy Bermuda-length pants with sock clips; the ladies don colorful dresses and frocks evocative of an era past; all designed by costumer Ka‘iulapu Baker with a flair.
Teia O’Malley’s stark and simple set design – two bare mini-stages of different sizes, on which the action unwinds – enabling closeness in everything. The connection theory thrives: Hand-to-hand, body-to-body, head-to-head, all in syncopation.
I vaguely remember the original Broadway version in 2006 – with Jonathon Groff as Melchior, Lea Michele as Wendla, and John Gallagher Jr. as Moritz – and some of the audience sat in low bleachers on the stage, possibly to simulate a school classroom. MVT’s in-the-round seating, much like New York’s Circle in the Square, provides intimacy and beaucoup traffic, as actors enter and exit from up to six locations. It’s the configuration utilized in MVT’s recent “Dial M for Murder” production, but this show brings the actors very close to the spectators.
There’s the cunning and welcoming element of including old-fashioned hand mikes in one scene, which makes the cast appear to be current rockstars in a concert. And the use of black eye masks worn by the Adult Woman and Adult Man projected a sense of cynicism, and they make recurring peeks through effective glass-less window frames held by an actor.
The techies – Janine Myers (lights), Sarah Velasco and Timothy Manamtam (sound), Lesa Ponce De Leon (hair and makeup) – are spot-on with their crafts, answering the “Awakening” call, and adding much to the viewing experience.
And bravo to Jenny Shiroma, the music director, who does an awesome job as maestro and keyboardist as part of a seven-member ork featring violin, viola and cello, tucked in a wee upper corner of the house. It’s joyous, then, that the musicians come down to take a curtain bow centerstage, amid the acting ensemble. It’s the essence of the final connection in a show with many linkages…
And that’s Show Biz…
‘Spring Awakening’
What: A historical work, about Germanic youths with sexual concerns, with origins in the 19th century, with 21st century sensitivity, plus a rock score.
Where: Manoa Valley Theatre
When: Final shows on April 4 and 5; extension shows at 7:30 p.m. April 11 and 3 p.m. April 12 offer better seats
Tickets: $25 to $52 at (808) 988-6131 or ovationtix.com
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