Spring Awakening Review

Posted by Sara Malinowski in Performing Arts

Wrapping up my semester with a weekend of shows seemed perfect—Left to Our Own Devices was playing at Warehouse 21; Spring Awakening, directed by Gail Springer at the Greer Garson Theatre. Little did I know it would not only be perfect, but highly resonant in my mind for days after. While Left To Our Own Devices is finished with its performances (hopefully the play will live on and continue to educate on the digital age,) Spring Awakening is still running this weekend.

The show was poignant in its use of dance. After seeing the original Broadway cast production years ago, I was hoping for something entirely new, and was aware that SFUAD’s drama department would hand me just that. Uniquely within this staging, Assistant Chair and Director of Dance Shannon Elliot, along with faculty member Jonathan Guise, dance on the side-extensions of the set, enhancing the meaning of multiple songs.

Dance department chair Shannon Elliott partners with faculty Jonathan Guise. Photo by Amanda Tyler.

They truly dance with feet lighter than air: Elliot is lifted and flown, only to be gracefully and soundlessly caught and wrapped into the arms of Guise. At one point, the two dancers simply lay next to one another, following each other’s breathing patterns. The effect is that of watching two people truly know and discover one another, a core theme of the play. Spring Awakening chronicles teenagers of 19th century Germany as they realize their sexuality, handling the rigid constraints and deep shaming inherent in their surroundings.

While some, like Wendla (Amy Bingen) are kept in the dark about the nature of sex, shunned and therefore punished for pure curiosity, others, like Martha (Jordyn Aquino) must face this sexual world too soon in their own homes. Either way, the theme for both is secrets: secrets kept from them, secrets they must keep. The characters handle this pain in the most attainable way for teens: they rock out. They show their pain in performance, and moments of great unease have them pulling microphones from their jackets to sing rebellion. With microphones clearly taped to their faces already, these additional hand mics show an attempt at rock-n-roll expression and at shouting to the hills. Expression is something they are not allowed, and this discomfort, though at times exhausting, leads the musical forward. The word “angst” originated in Germany, and it is what permeates from curtain to close.

The highlight of the play is when both the dance and angst come together with true grace and emotion. During a funeral scene, the actors elegantly harmonize into the moment, while the dancers lead each character to drop a flower by a fresh gravestone. The dancers move about the crowd of characters, extending their pointed toes and never touching the grieving group. They simply float above them, as the true likeness of their self. They give the strength and focus the scene needs, while the music and leveling of sound between the actors provides the feeling.

Spring Awakening will be playing at the Greer Garson all weekend. Treat yourself to a bout of shows, from Quadstock to OVF to german-puberty-driven-plays, as the semester comes to a close. You will be left more enlightened.