Review - Spring Awakening (2.11.07)

Spring Awakening (Sunday, 2.11.07)
Eugene O'Neill Theatre, New York City

By: Duncan Shiek (music), Steven Sater (book, lyrics), Michael Mayer (direction)

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), John Gallagher, Jr. (Moritz), Phoebe Strole (u, Ilse), Lilli Cooper (Martha), Krysta Rodriguez (u, Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Jonathan B. Wright (Hanschen), Skylar Astin (Georg), Gideon Glick (Ernst), Stephen Spinella (adult men), Frances Mercanti-Anthony (u, adult women)

With each viewing, Spring Awakening opens up more and more, with subtle details coming to the fore that demonstrate why this theatrical piece is so special. It is exquisite -- emotional, funny, heartwarming, and incredibly moving. Each performer contributes to the power of the piece, which remarkably exceeds each of the individual contributions.

The quality of the piece is especially evident given the number of understudies in the cast on this viewing. Filling in as Ilse is Phoebe Strole, ordinarily playing Anna. Although lacking the soulful and moody quality that Lauren Pritchard brings to the role, Strole did her best to capture the free-spritedness of the character, and offered acceptable renditions of Ilse’s key numbers. Frances Mercanti-Anthony manages to capture much of the warmth and versatility that Laura Estabrook normally brings to the role.

The show is remarkably well put together, and the third viewing of the show is especially impressive. The cast has really hit its groove, and in particular I was struck by how well-constructed is the first act. From early on, the piece rolls to a steady pace, gradually gaining momentum until it is unstoppable. The show is truly an awakening, and one senses that the passions and emotions which drive the plot are unstoppable.

John Gallagher and Jonathan Groff are truly spectacular. Gallagher feels not only a bit lost, but in fact a bit out of control. When he faces his father about failing out of school, one senses his character slowly slipping away. His scene with Ilse is especially touching, as one can sense how he regrets that he cannot bring himself to simply accept her invitation and possibly save himself. His reemergence in the penultimate number is striking and poignant. Groff, meanwhile, is so different from Gallagher. He is captivating – powerful and a passionate force to be reckoned with, but also attached to his friends and his loves.

Meanwhile, Lea Michele is a gorgeous, delicate presence. She is steely and smart, and yet there is a fragile naivetee that helps lead to her tragic conclusion. Her delivery of her key numbers, especially whispering, is absolutely captivating.

Indeed, there is no weak link in this cast, nor is there a weak moment in the show’s construction. It is very well-directed and constructed, and every scene gives a glimpse into the characters’ psyche. About the only thing that tops the exquisite beauty of the show’s direction and design is Shiek and Slater’s score. It is truly remarkable in its every last detail. Spring Awakening is a Broadway landmark. If Broadway can produce just one show of this quality and imagination every 10 years, it will be in good shape for years to come.