Monday, January 08, 2007
I CAN'T BELIEVE I DIDN'T LIKE SPRING AWAKENING
I was shocked as shit this weekend to find myself among the ranks with those who kinda hated SPRING AWAKENING. I thought for sure, I was going to love this show. It seemed right up my alley, as a fan of the original play, and an advocate of new musicals on Broadway. But those factors are the main reasons why I was put-off by almost every aspect of this production.
For starters, the cast is constantly giving off this attitude that what they're doing up there is so cool and so edgy. Maybe this material will seem edgy to tourists and kids but nothing here is new in its presentation or treatment; sexual abuse, gays, teenage sexuality, abortion, etc. And the way the show turns many of these issues into skits meant to be more funny than touching, sad, or eye-opening, made me depressed (and not in the good way). Prime example being Moritz and Ilse's scene, which develops into a lovely song, but really loses everything in the dialogue that should have made the song really powerful.
Secondly, love Bill T. Jones, got his picture on my wall, but what the hell was this? And how come everyone looked like they just learned it this morning.
I could see myself listening to some of these songs while I clean my apartment (ultimate test), but really, they all sounded the same to me. And, as a friend pointed out, any character could sing almost any of them, which could explain why I was moved by almost none of them.
It would be unfair not to add that the energetic cast makes the most of the things they were directed to do and also the talents were cast for. The stand outs for me were Stephen Spinella (clearly) and John Gallagher Jr, who after his turn in RABBIT HOLE last spring and now this, is establishing himself as an up and coming force of New York theatre.
If I saw this production in a high school, I would, no doubt, be blown away. Its sad that SPRING AWAKENING will probably be unproducable in high schools, since it really speaks to close-minded communities and parents.
I can't imagine I'd see this again, but I've heard its better on second viewing so we'll see. I did see an understudy go on for Georg, so maybe that threw the whole show off balance (hmm. perhaps not). I'm super curious to see how this show plays out this season. The theatre was packed last night and the audience was definitely on the younger side (which is very exciting for Broadway). But can this win the Tony for new musical vs GREY GARDENS?
Maybe it can, but I'm left really confused by a Broadway where last season's SWEENEY TODD can lose the Tony for Best Revival, and this season's SPRING AWAKENING can be hailed as "a groundbreaking must-see musical sure to wake up Broadway".
What? ¶ 2:07 PM
I was shocked as shit this weekend to find myself among the ranks with those who kinda hated SPRING AWAKENING. I thought for sure, I was going to love this show. It seemed right up my alley, as a fan of the original play, and an advocate of new musicals on Broadway. But those factors are the main reasons why I was put-off by almost every aspect of this production.For starters, the cast is constantly giving off this attitude that what they're doing up there is so cool and so edgy. Maybe this material will seem edgy to tourists and kids but nothing here is new in its presentation or treatment; sexual abuse, gays, teenage sexuality, abortion, etc. And the way the show turns many of these issues into skits meant to be more funny than touching, sad, or eye-opening, made me depressed (and not in the good way). Prime example being Moritz and Ilse's scene, which develops into a lovely song, but really loses everything in the dialogue that should have made the song really powerful.Secondly, love Bill T. Jones, got his picture on my wall, but what the hell was this? And how come everyone looked like they just learned it this morning.I could see myself listening to some of these songs while I clean my apartment (ultimate test), but really, they all sounded the same to me. And, as a friend pointed out, any character could sing almost any of them, which could explain why I was moved by almost none of them.
It would be unfair not to add that the energetic cast makes the most of the things they were directed to do and also the talents were cast for. The stand outs for me were Stephen Spinella (clearly) and John Gallagher Jr, who after his turn in RABBIT HOLE last spring and now this, is establishing himself as an up and coming force of New York theatre.
If I saw this production in a high school, I would, no doubt, be blown away. Its sad that SPRING AWAKENING will probably be unproducable in high schools, since it really speaks to close-minded communities and parents.
I can't imagine I'd see this again, but I've heard its better on second viewing so we'll see. I did see an understudy go on for Georg, so maybe that threw the whole show off balance (hmm. perhaps not). I'm super curious to see how this show plays out this season. The theatre was packed last night and the audience was definitely on the younger side (which is very exciting for Broadway). But can this win the Tony for new musical vs GREY GARDENS?
Maybe it can, but I'm left really confused by a Broadway where last season's SWEENEY TODD can lose the Tony for Best Revival, and this season's SPRING AWAKENING can be hailed as "a groundbreaking must-see musical sure to wake up Broadway".
What? ¶ 2:07 PM
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AGREED! I liked so many of the elements of the show, and overall I enjoyed myself, but for some reason the show just doesn't work. I think it's trying to do/ be too many things at once.
# posted by 
: 3:59 PM
: 3:59 PM
No, Georg doesn't make or break the show, but Skylar Astin's vocals on "Touch Me" kick ass. Just listen to the cast album if you get a chance, he's freaking spectacular.
Stephen Spinella is SO good in this, and his performance was completely glossed over in the reviews. So many of the characters are only 1/2 believable, and I found him startlingly, refreshingly real in "Left Behind."
I love this show, but I will concede that it tries to do too many things at once. I think the interior-monologue songs, while sometimes incredibly effective, don't leave enough time and space for the plot to unfold naturally, creating these little skits that you talk about. It would have been nice for them to find a way for SOME of the songs to further the plot, rather than listening to the millionth wistful, reflective ballad in act two.
Stephen Spinella is SO good in this, and his performance was completely glossed over in the reviews. So many of the characters are only 1/2 believable, and I found him startlingly, refreshingly real in "Left Behind."
I love this show, but I will concede that it tries to do too many things at once. I think the interior-monologue songs, while sometimes incredibly effective, don't leave enough time and space for the plot to unfold naturally, creating these little skits that you talk about. It would have been nice for them to find a way for SOME of the songs to further the plot, rather than listening to the millionth wistful, reflective ballad in act two.
Gotta agree with the WB. I was pretty disappointed. First, I ended up caring about none of the characters; I couldn't even keep their names straight. (Compare that to Rent, where almost very character was a hero to someone who watched the show.) Also, Moxie was right on -- music in a great musical drives plot. In Spring, it was always a kind of intermission from whatever weak attempt at a story was made.
Throwing in a few sensational scenes like a girl asking to be whipped, or 1/2 nude scene, are poor attempts to stand out on Broadway. Or maybe not, since it's worked.
All that said, the cast is ultra talented, and I can see myself bopping my head to some of the songs if they were on the radio.
Throwing in a few sensational scenes like a girl asking to be whipped, or 1/2 nude scene, are poor attempts to stand out on Broadway. Or maybe not, since it's worked.
All that said, the cast is ultra talented, and I can see myself bopping my head to some of the songs if they were on the radio.
I can understand your reaction to the show. I felt the same way when I saw it during the off-B'way run last year.
I'm glad I went back for a second look, but having to see a show twice to "get it" doesn't bode well for the economics of having a success on Broadway.
I'm glad I went back for a second look, but having to see a show twice to "get it" doesn't bode well for the economics of having a success on Broadway.
Well, I'm sure glad I'm not alone.
Man, everyone is all over the place with their opinions of this show.
New York is all a-twitter!
Man, everyone is all over the place with their opinions of this show.
New York is all a-twitter!
hmm... I knew I loved the music watching it but for a split second walking out I was like, did that just suck? or was it brilliant? But then I just sort of loved it in some weird rush and loved it more ever since (especially when I listen to the cast recording). Loved Rent but now that I compare the two, I find Rent is more a populist approach while Spring Awakening is slightly more eruditious about the whole thing (which yeah, doesn't bode well for a long run). Granted, I'm technically a "tourist".
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