Memorable and Relevant: Spring Awakening at Spotlight Theatre

by Deitra Oliver

Coming of age in early 19th-century Germany can seem like a distant and unrelatable setting to people living today. Spring Awakening bravely shows that the past is not so distant and that the struggles we face now are nothing new. Exploring themes of sexual discovery, abuse, mental health, and suicide, Spring Awakening shares the story of a group of teenagers as they journey through adolescence into young adulthood. Originally written as a stage play in 1891 by Frank Wedekind, it was adapted into a musical in 2006 by Duncan Sheik and Steven Sater. Because of the show’s content, it has faced controversy throughout its history, yet it has remained a popular and critically acclaimed production. Spotlight Theatre, under the direction of Chloe Sierka, brings a fresh and distinct production of Spring Awakening to the region.

Arriving at the theatre, I found parking to be a bit of a challenge, so you will want to arrive a little early to ensure you are able to get a good spot. The theatre itself is quite nice, with a beautiful stage structure. This theatre has unreserved seating, so again, if you are particular about where you sit, arrive early. The view is good from all seats in the theatre, as the stage is elevated enough that your view should not be blocked by people sitting in front of you. The seats are traditional folding chairs, but without cushions. If you have any issues, perhaps bring a seat cushion yourself. Overall, it is a comfortable theatre experience.

Spring Awakening opens with an all-black background, a single bench, and the use of lighting to set the tone of the scene. This simplistic stage setup is carried throughout the entire production, with the use of chairs, benches, and a ladder representing an oak tree to establish the scenes. This was well executed, and each setup and transition was smooth and clearly portrayed where a scene was taking place. Lighting played an important role in telling the story, as colors were used to mirror the emotional weight of a sequence, and spotlights were used to highlight specific moments. This seemingly stripped-back but extremely intentional presentation was effective and allowed the performers and story to be the focal points.

This production opted to utilize backing tracks rather than live musicians. The timing was on point and consistent throughout. I believe that the complexity of this rock musical may have been challenging to deliver with a live orchestra. Overall, the music and sound were excellent, with only a couple of minor issues with the blending of vocal and music levels in a few scenes. This is only to be expected with live theatre; anything that can happen probably will. Choreography is an important element of this production, and the simple modern movements beautifully capture the emotions and energy of the songs.

These powerful elements were brought together by the amazing production team: Director Chloe Sierka, Assistant Director Russell Weidnemiller, Music Director Valentina Raffaelli, Choreographer Amelia SanFilippo, Producer Joe Ward, Set Designer Tom Mostek, Lighting Designers Joe Ward and Chloe Sierka, Sound Designer Joe Ward, and House Manager Richard Russell.

Due to the emotional weight of the show and the simplicity of the presentation, casting is hugely important, as the actors carry a great responsibility not only to be emotionally vulnerable and strong in their acting but also to deliver powerful and moving vocals. I believe the casting in this production was flawless. The entire ensemble felt perfectly placed in their roles and worked together to tell the story of this group of students with empathy, believability, courage, and just the right amount of angst.

Shaelyn Parker, as Wendla, the curious and naïve female lead, opened the show with a powerful rendition of Mama Who Bore Me. Her voice flowed over the audience in a powerful and emotive soprano that instantly drew us into the story. Parker fully committed to the role of Wendla and brought a refreshing energy to the character. Drew Weiss was cast alongside Parker as Melchior, the radical-thinking, rebellious male lead. Their chemistry onstage was believable, and they did a great job portraying the youthful exploration of self, sexuality, and the pressures of growing up. The Word of Your Body was a beautiful and sensitive duet. Weiss delivered a strong performance as Melchior and was enjoyable to watch. Totally Fucked was a particular favorite of mine.

Martha, played by Emahni, and Ilse, played by Lauren Carter, had an emotional and show-stealing scene with The Dark I Know Well. The power of their blended voices brought goosebumps to my arms and tears to my eyes. The use of lighting in the scene was also highly effective in building the emotional impact. Michael Aquilino, as the sensitive, abused, and sexually confused Moritz, is another standout. The full-scale teenage angst of The Bitch of Living perfectly showcases the frustrations of that time in life. Aquilino delivered a strong and sympathetic performance.

Mama Who Bore Me (Reprise) showcased the sheer power and beauty of the female ensemble. They rocked the house with this one. I particularly enjoyed songs that showcased the entire cast. When singing together, their voices blended beautifully and created the unique resonance and vibration that occurs when singers are in the same frequency. Anna (Lindsay Clark), Thea (Sara Rabatin), Adult Woman (Hope Smalley), Hanschen (Andrew Shepard), Ernst (Sam McGuire), Georg (Evan McClelland), Otto (Taron Goldsboro), and Adult Man (Justin Walsh) round out this powerhouse cast, and each brings a beautifully nuanced aspect to their role. It was a joy watching their stories and characters unfold throughout the production.

It is easy to minimize the struggles of youth once you’ve made it to the other side, but Spring Awakening reminds us of a few important truths. One, we cannot minimize the trials of youth; they are real, and they can lead to life-changing consequences. Two, we are all on the journey of growth and discovery; it only stops when we are no longer here. Wherever we are on the journey, it is important to remain awake to the feelings and ideas developing inside of us.

Running weekends March 6–15 with evening and matinee showings, Spring Awakening at Spotlight Theatre (84 S. Lansdowne Ave., Lansdowne, PA 19050) is a must-see show. I recommend getting your tickets now at https://events.ticketleap.com/tickets/spotlighttheatre/spring-awakening