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Book and
Lyrics by Steven Slater - Music by Duncan Sheik
Directed by
Grant Pegg and Kelly Roberts – Musical Direction by Matt Webster
Set Design
by Chris Zuber - Costume Design by Jennie Norberry
Sound and
Lighting Design by Eclipse Lighting and Sound
Presented by
Phoenix Players - ANU Arts Centre until 26th November 2016
Reviewed by
Bill Stephens
Following on
last year’s production of “Next To Normal”, Phoenix Players are rapidly
building a reputation for unearthing and presenting interesting new musicals
which explore compelling contemporary themes.
The authors
of “Spring Awakening” have cleverly transformed an 1891 expressionist play by
Frank Wedekind into a searing exploration of the journey from youth to
adulthood which doesn’t flinch from tackling subjects like youth suicide,
abortion, homosexuality, masturbation, pregnancy and sexual abuse.
Working with
an ensemble cast of eleven young actors, roughly the age of the characters they
are portraying, directors Grant Pegg and Kelly Roberts have drawn from them
brave , committed and passionate performances, with direction that is decisive
and imaginative, handling the often confronting sex scenes with tact and
intelligence.
Outstanding
in this ensemble are Callum Bodman, as the brilliant, fearless and questioning
young Melchior, and Kaitlin Nihill as Wendla, a young woman desperate for
knowledge. Their relationship, while predictably tragic, forms the nucleus of
the story. Pip Carroll, Kashmira Mohamed Zagor, Lachlan Agett and Jake Willis
also contribute memorable performances among a strong ensemble, all of whom
rarely leave the stage.
Kelda
McManus and David Cannell anchor the production playing all the adult
characters in a series of thoughtful, brilliantly realised characterisations. Jennie Norberry’s period costumes and Chris
Zuber abstract, multi-level wooden pallet and rope setting, enhanced by clever
lighting design, effectively conjure up the sense of period in the sparse rural
environment in which these events take place.
More
attention to articulation by the cast, and to sound balance to correct the
sometimes muffled microphone sound, as well as the tendency for Matt Webster’s
excellent orchestra to drown out the singers, would allow more of the
all-important lyrics to be heard.
This is a
thoughtful, imaginative production which should be seen by parents in the
company of their teenage sons and daughters. It may provide an uncomfortable
experience, but it will certainly preface many important many conversations.
This review first published in the digital edition of CITY NEWS on 12th November 2016
