By Audrey Miller: Photo Credits to Kevin Christopher with Crowe Photography
Sexual awakening, repression and rebellion all sound like traits of a reality television show. These are a few of the many themes covered in Susquehanna University’s fall musical: “Spring Awakening.” Supported by talented students and a live orchestra, the rock musical is an exploration of the raw, universal journey of adolescence, all while taking place in a 19th century provincial German town.
The opening performance of the hit Broadway musical was Nov. 13 at 7:30 pm. The Charles B. Degenstein Theater will host the production from November 13 through 15 and a matinee on the 16.
The musical was adapted in 2006 by Steven Sater (book and lyrics) and Duncan Sheik (music) from an 1891 German play by Frank Wedekind. Now, Susquehanna University’s assistant professor of theatre and director Dr. Kevin Crowe is bringing the spunky and emotional musical to our local theater.
The first act of the show proceeds with power and allure. The first half is where innocence meets curiosity. Unaware of the show’s content, I was deceived by the opening ballad: slow, innocent and unexpectedly tender. Though the show is set in repressive 1890 Germany, the music is loud, colorful and explosive.
The audience follows characters such as Wendla Bergmann, a naive teenage girl who questions her mother about reproduction, Melchoir Gabor, a progressive schoolboy whose ideals clash with the educational system, and Moritz Stiefel, a schoolboy who is haunted by erotic dreams and is on the brink of academic failure. Into the second act, the characters’ challenges take a turn for the worse, dealing with issues such as depression, grief and abortion. These emotional shifts are handled with remarkable sensitivity by the cast.
The dramatic storyline is supported by a spirited cast. Freshman Tyler Strange commanded the stage as Melchior with strong, controlled vocals as well as dynamic acting. Ironic as it is, there is nothing strange about his talent– the young actor tastefully brought to light the universal confusing curiosity that comes with growing up. Strange’s counterpart, Elliot Muller, who plays Moritz, is electric, having equal physical comedy and tonal precision. Muller seamlessly transitions from humor and curiosity to darker tones such as suicide, eliciting a visceral response from the crowd.
A standout moment in Act One is the energetic number “The Bitch of Living.” With its witty lyrics and tightly choreographed performances by the ensemble of schoolboys, the song leaves a lasting impression and easily ranks as one of the show’s most memorable highlights.
“I would pay money to watch that again!” said ecstatic student Ella Patterson, following the performance.
Campus marketing for the production emphasizes its bold, provocative content, highlighting themes of sexuality, repression and rebellion, alongside moments of nudity and explicit language. Constant murmurs, giggles, and the use of the playbill to cover blushing faces were responses to the provocative scenes unfolding onstage. Overall, the crowd responded positively, proven by supportive hollering and applause at key moments.
The transformative lighting and simple set design complemented the actors well. The changing colors transitioned seamlessly with the change in themes. A key aspect of the set design was the use of handheld microphones and microphone stands. The actors used the microphones with intent, transforming the theater into a concert venue.
There is no doubt that the show is a success. The young cast shines and enhances the already explosive musical. To learn more about upcoming shows, visit Arts, Lectures & Performances – Susquehanna University.