Review: SPRING AWAKENING at Westside Theatre TAURANGA

Reviewed by Glenda Pearce for Broadwayworld.com

Artistic Genius

Book and Lyrics by Steven Satar, Music by Duncan Sheik

Westside Theatre, Tauranga

"Telling Lies to the young is wrong - Telling them God's in his Heaven and all's well with the world is wrong?' (Yevtushenko)

Set firmly and dramatically in Germany 1891, where the adults hold all the power, the teenage cast of this modern rock musical (2006) employs a range of sorrow and pain-filled ballads through to electric pop-rock anthems to present a powerful and poignant production. Beautifully staged and artistically directed by Kaitlin Spedding, this visually commanding musical presents hard-hitting ugly issues and universal themes of adolescence that need to be talked about. Ms. Spedding clearly achieves her purpose of reminding the audience that hormones and puberty, teenage sexuality, sexual abuse, mental health, the feelings of failure and being different, censorship and teenage pregnancy are just as relevant as they ever were. The music is haunting, and reminds us often that in the face of ugliness there can be exceptional love and surprising beauty. The words of the songs stay with you long after the final song "The Song of Purple Summer."

This is a challenging and confronting show that is presented with sensitivity, skill and technical expertise. Costumes and hairstyles (Nikola Spedding, Martise Hughes, Trina Hughes, Sarah McIntosh, Toni Henderson) are effectively employed to show the changing emotional and physical states of the characters. We see the tight fit of the lives of the plaited adolescent girls, and the suits (sometimes ill-fitting) and ties of the school lads. It's only when there's a glimpse of freedom or rebellion that the hair is loose and flowing, and the tie removed.

The world the adolescents live in is captured with simplicity (set design Georgina Fowler, Mark Fowler, Matthew Roderick) and allows the episodic action of the story to unfold with clever juxtapositions and seamless pace and energy. Director Ms. Spedding and choreographer, Georgia Wilson craft the movement sequences with skill and emotional connection. Moments such as the candlelit "I Believe" and "Left Behind" are touching and moving. The characters' moods are captured in the artistic, colourful, superbly crafted and creative lighting design (Matthew Henderson and Ashleen Fahy). Without a doubt, the lighting adds incredible focus to the songs, many sung within a well-focused tight spot, or with ensemble numbers presented in dramatic and vivid tones. A highlight is the sharply lit interrogation scene in which Melchior is unjustly blamed for Moritz's death.

The dilemmas are effectively portrayed by the professional performances of all cast members - psychologically truthful and superbly captured with vocally true melody, psychologically motivated movement. Superb pitch shifts and vocal harmonies draw in the audience.

Fletcher Oxford is vocally outstanding as the intelligent, sensitive, handsome but questioning Melchior and when on stage, commands it. The truth of his emotional angst, such as in the song "Those You Have Known" in the cemetery when the ghosts of Wendla and Moritz confront him, is honest and raw. Bailey Hopkins is entirely convincing as the marginalized Moritz, and credibly conveys the characteristics of those suffering from Asperger's Syndrome and who struggle to cope with the demands of an unreasonable education system. His suicide is sensitively handled and like many other "exits and entrances" within the show, superbly timed. Paraskevi Spiropoulos is a beautiful and sensitive, confused Wendla and we can feel her range of desires whenever she speaks or sings. We feel sorry for this poor girl - a victim of parental censorship, a mother who fails to tell her the simple truth. Martha (Tessa Olsson) and Ilse (Ashley Hocking) both present the tragic victims of abuse with clarity, vocal sincerity and absolute truth. Even in moments of silence, the powerful performances of these five cast members speak volumes.

A special mention must be made of the exceptional talent of the two adult cast members - (female) Nadine Shine and (male) Liam Hagan. Between them, they effectively portray all the adults in the plot - priest, teachers, several mothers and fathers, the abortionist et al. Credible physical, vocal and emotional distinctions are created between the various adults they portray - generally only supported with minimal costume change, such as a hat or a jacket.

Director Kaitlin Spedding and Musical Director Ashleen Fain clearly understand the power of music to evoke theatrical catharsis, and powerfully present an emotional thought-provoking universal conflict that draws us into a heartfelt story. The artistic crafting and beauty of this top quality and professional production is one which deserves full houses.

On 26 April - 11 May 2019.

Tauranga Music Company

Westside Theatre

Top of 17th Avenue

Tauranga

Bookings at iticket.co.nz