Review-Spring Awakening (9.25.07)

Spring Awakening (Tuesday, 9.25.07, 7 p.m.)
Eugene O'Neill Theatre, New York, NY

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

Starring: Jonathan Groff (Melchior), Lea Michele (Wendla), John Gallagher, Jr. (Moritz), Lauren Pritchard (Ilse), Lilli Cooper (Martha), Eryn Murman (Anna), Remy Zaken (Thea), Brian Charles Johnson (Otto), Jonathan B. Wright (Hanschen), Gerard Canonico (u, Georg), Blake Daniel (Ernst), Stephen Spinella (adult men), Christine Estabrook (adult women), Matt Doyle (ensemble), Jesse Swenson (s, ensemble), Alexandra Socha, Jennifer Damiano

Nine months, eight Tony Awards, and several millions of dollars since its arrival on Broadway last December, Spring Awakening retains its sparkle as one of the most exquisitely constructed musicals on the Great White Way. Blessed with a gorgeous score, a compelling story, innovative staging, and a stellar young cast, Spring Awakening is simply sublime. It is poignant, it is funny, it is dramatic, it is conflicted – in short, it is all of the things that mark adolescence and the coming of age.

The show’s three principals remain unchanged, and they are spectacular studies in contrast. Jonathan Groff, as the rebellious Melchior is spell-binding – he is brash, he is smart, he is sexy – all the things you would expect in the lead protagonist. But even if he is a leader, he is not infallible, and that is what makes his character so compelling at the heart of the show. He makes mistakes – serious mistakes – and the consequences are dire for his friends. But he also remains true to them, and to their memory. Groff excels whether he is belting “Totally Fucked” or gently serenading his best friend’s memory in the tear-inducing “Left Behind.”

On the other side is Lea Michele’s breathtakingly beautiful rendition of Wendla, the smart yet naïve girl who falls under Melchior’s spell. Michele starts the show as a wide-eyed girl, but the darkness of her surroundings and of the circumstances to which she is exposed slowly consume her. By the end of her second act number “Whispering,” she indeed has blossomed into a gorgeous, yet dark, young woman. Her appearance in the penultimate graveyard scene is pure power.

And of course, not enough can be said about John Gallagher, Jr.’s phenomenal turn as Moritz. Gallagher’s every movement, every note, every word uttered, are absolutely heart-wrenching. It is the small moments that make his characterization so powerful – the gentle breakdown in front of his father, the poignant exchanges with Ilsa – even the gentle touch on the shoulder of his best friend Melchior. Gallagher is sensational, and his character is the heart of the show. Absolutely breathtaking.

The three principals aside, this is truly an ensemble show, and each actor, from the supporting characters, to the sensational and multi-faceted Christine Estabrook and Stephen Spinella, to the members of the ensemble, contribute to making Spring Awakening so beautiful to watch and to listen to. It is telling that the final number, “Purple Summer” – which is really just a coda, is so powerful, as it involves the whole cast setting forth the theme of the show. Armed with Duncan Shiek’s melodious score, Steven Sater’s smart lyrics, and the design team’s sensitive design, this show is a highlight, and one of the best, most innovative shows to hit Broadway in some time.