“This play contains scenes of a disturbing nature,” proclaimed the doorman as we were ushered into the Barn on Friday night, preparing the audience for a play rife with sex, violence and everything in between, and just how right he was. Spring Awakening is a play about puberty, sex, marriage, rape, divorce and death, themes that are powerfully and yet sensitively dealt with.
In what is a markedly beautiful production, Emily Spooner and Pippa Dyble (both prod. and dir.) have taken on a play whose name is banded about freely following its success as a musical on Broadway and in the West End. However, this (rather long) production of the original play-text version of Spring Awakening by Frank Wedekind (since translated) runs for two-and-a-half hours and yet is one that is powerful, unique and distinctly memorable.
Described by one audience member as “one of the best things I’ve ever seen in the Barn”, this latest offering from DramaSoc is one that won’t quickly leave the consciousness of any who see it.
Upon entering the Barn, one is greeted by an all-white set, a rare treat for those used to the dark, shadowy interior of the room that is normally painted all black. The walls, the floor, the solitary bench in the middle of the stage – all are completely white. Even the (what appears to be papier-mâché) tree that spreads its branches out over the entirety of stage left is completely white. Simple and minimalist, this bare set is striking for a play that is called “Spring Awakening”. It seems more Wintry Death at this point in time.
Yet as the play progresses the stage is slowly coloured: rose-petal confetti dropped by schoolgirls, hay left from a night in a barn, a basket of flowers under a tree. Without revealing too much of the plot itself, each of these things taints the white floor, leaving memories behind of the development of the children who bring life to the deathly white of the rest of the stage, as the set itself experiences an awakening, arising out of its own deep slumber.
Toby Foster here deserves special mention for his excellent lighting design, which though simple in its nature, creates instantly believable outdoor and indoor scenes and through somewhat basic changes in lighting does everything that is necessary to move the action as appropriate, making full use of the white set.
The cast, headed up by fantastic portrayals of Melchior and Wendla by Freddy Elletson and Francesca Murray-Fuentes, is notable if for nothing else than for its extremely strong performance across the board. Dealing sensitively with themes of an ‘adult’ nature, the production refuses to back down in its expressions of violence, rape, sex, homosexuality, heterosexuality and death and is only let down by occasionally weaker moments in what seems to be a slightly rushed second act. Nonetheless, it is difficult to criticise a piece that never seems to get boring and that always provides the audience with something to laugh at and to be shocked at.
Most significant is the depiction of Moritz by Michael Wilkins. Seemingly comfortable in monologue and opposite a full stage of actors, Wilkins is dazzling in his characterisation of the pubescent schoolboy and is instantly believable as the nervous, curious and yet delightfully lovable teenager. Able to fill the stage whilst sitting solitary center stage and with excellent comic timing, and an ability to switch from deep humour to hard-hitting drama seamlessly, Wilkins stole the show in his performance.
Slightly disappointing is the brief appearance of Tom Vickers who in his first of two characters appeared somewhat weaker in his exploration of Professor Sunstroke. However this is saved by the dramatic Masked Man who Vickers plays in the final scene of the play, in a dreamlike end to what is otherwise a play lacking in surrealism entirely.
Yet despite occasional hiccups, Spring Awakening is a fresh, moving and brilliantly funny performance that will surely delight any and all who go along to see it this weekend. The problems in the performance are few and far between, and this is overall a production that Spooner, Dyble and the rest of the cast and crew should be extremely proud of.