Spring Awakening (Novello Theatre, West End)

Spring Awakening... It is to late 19th century Germany what Heathers was to 1980s America.

Random? Yeah.

Accurate? Sort of.

I wish I had the program in front of me, because it had an excellent blurb about the original author and the reinterpretation as a rock musical. The long and short of it is this - dude who originally wrote it was writing a commentary on the stress of German education among the upper echelon and how it led to a potential spate of problems, especially when dealing with arbitrary measures to determine who can proceed and who cannot. When it was published and originally performed, it was so censored that the entire point that was trying to be made was lost on the censor's floor.

100 years later... Some one else comes across it and goes "hey, let's turn this into a musical" and so current day Spring Awakening was born.

A few things that made my American brain go "bwuh" was the vowel sounds from British mouths. The difference between "Gowd" and "Gahd" was making me go "oh, almost!" from having listened to the soundtrack so many times. Changing the name of one of the characters from "Fanny" to "Laura" or some such also mildly irritated me, but I realized that it was a serious enough part of the play that the invariable titters from the audience would break the tension. (Fanny, in BritSlangSpeak is roughly equivalent to pussy in American - a euphamism for the external female genitalia without the insulting quality of cooze, twat, or cunt.)

I also fell completely in love with the actor who played Georg. I think he out of all of the cast embraced their character without overacting. Melchior was good, but a little shy at times, which was not in character. Hanschen hammed it up a bit, but I think his character leans that way. Otto was grand. Moritz had a HUGE problem with controlling his volume, particularly when miked, and blasted out the audience's collective eardrums when he was supposed to be intense or enthused. His energy was good, but his control was lacking. The girls were generally unremarkable, but they were designed to have a role that progressed the boys' plot. Though, the girl who played Anna (I think) looked remarkably like a young Emma Watson with the way she was styled.

My favorite part, and the part that it seemed took the audience the longest time to catch onto was the manner in which the adult roles were treated. All of the adult characters in the play were performed by one actor and one actress. The commentary on the essential interchangability of adults in a teenager's life is a wonderful insight into the size and scope of an adolescent universe.

I wish that I'd been able to get a photo of the set. It was a combination of controlled chaos, but it incorporated everything that was needed for each scene without being cluttered. The use of vertical space is what kept it from being too insane.

A big thank you to Kevin Spacey and the other producers (both executive and assistant) for having the faith and the vision to bring this to London. Yeah, it'd done well in New York, but American audiences are different from European audiences, especially when it comes to how they view their children and schools.