Spring Awakening Revisited

spring

Last night I attended Spring Awakening for the 5th time.  It was an incredible evening so I feel the need to supplement my earlier review.

I was very excited upon entering the theatre because both of the adults were being played by the understudies. I had seen Tony Carlin (understudy for the Adult Men) once before, but I had never seen Frances Mercanti-Anthony play the adult women.

I am not sure if it was the absence of Christine Estabrook and Glenn Fleshler, who normally play the adults, that had the cast so energized last night, or if it was perhaps the knowledge that the show is soon to end, but whatever it was, it really made the show feel completely new, exciting, and different.

Alexandra Socha (Wendla) has certainly grown over the past 4 times I have seen her play Wendla. She still lacks the confidence needed in the shows opening, but she quickly salvages a few  sour notes into a solid performance. It was nice to see her play off of Ms. Mercanti-Anthony as her mother, who brought a lot of maternal warmth to the role. The first scene was still funny, but in a different way than it is with Christine Estabrook. Ms. Socha has truly seemed to delve into her character at every moment, and she has abandoned what I described as “quizzical inflections” on many of her lines.

Hunter Parrish as Melchior was in rare form last night as well. Perhaps the best acting of Melchior I have seen to date came out of Mr. Parrish last night. Of course, it seemed to come with a price, as Mr. Parrish strained on notes I had seen him his consistently the past 4 times I saw the show. However, to an audience member with less knowledge of the show and vocal fundamentals it probably went by unnoticed.

The most notable difference for both Hunter Parrish and Alexndra Socha was the final scene of act 1 and the beginning of act 2, where the two have simulated sex on stage. Most of the time this scene is well acted, but last night the two seemed absolutely on fire with passion for the other. The sex seemed to last longer, with additional moaning. It was exciting to watch. However, it certainly made Melchior look more like a rapist than normal.Whenever I take someone to the show, I often ask them what they think of that moment in the show. Do they view it as rape or not? Most people say that it meets the definition of rape, but is more complicated. Although it certainly maintained the complication, Melchior’s darker tone of voice, seemingly lack of patience or tenderness, and sheer physicality certainly made it harder to view Melchior in any way innocent.

Gerard Canonico has made large steps in making his own Moritz. Every time I feel he is better and better. The scene where he questions his father about what would happen if he failed was incredibly moving, which speaks not only to Mr. Canonico but to Tony Carlin as well. I was also incredibly impressed by Mr. Canonico’s vocal performance of “I don’t do sadness” and “And Then There Were None” which were not only pitch perfect but beautifully acted. The fact that he could be crying one minute and angrily singing the next, was truly impressive.

I would of course feel bad if I did not mention Matt Doyle and Blake Daniel. Matt Doyle still wins my praise as best male vocalist in the cast, and his “Desdemona” monologue never ceases to be both entertaining and awkward. Mr. Doyle and Mr. Daniel were blessed with a rather fun audience and therefore their love scene went off with additional hilarity. It was nice that they knew how to handle holding for the additional laughs, and proved they certainly can work the crowd.

My favorite female singer, Emma Hunton, appeared slightly under the weather last evening. This made me sad, as I feel she is the best Ilse the show has ever had. She managed to sing on pitch, but her ability to entirely suck in a room was not at full strength. Her rendition of “Blue Wind” was still wonderful though.

The women in the cast on a whole actually were in the best vocal shape I had ever heard them last night. Their harmonies which have normally been shakey or simply not there, were absolute perfection last night. I felt I was listening to embelishments on the score which really enriched the female presence.

The men were alright. They seemed to speak latin during “All That’s Known” in a higher pitch last night which was a little strange, but not bad. Andrew Durand was a wonderful Georg, and his sexual dream sequence with his piano teacher was absolutely hilarious. I am not sure he needs to add to much to the end of  “Touch Me” as it starts looking more like “American Idol” audition, and less like all of the kids singing about their problems with physical isolation.

The last bit of my review is about the only “new” actor I saw last night. Ms. Frances Maercanti-Anthony. I thought she brought a lot of new things to the show. She felt more maternal, more loving. However, she does not do as good a job at differentiating her characters as Christine Estabrook. In addition, her reading of the letter to Moritz was rather hard to listen to. She seemed to thing Mrs. Gabore (Melchior’s mother) was less than sincere in her letter, which I whole heartedly disagreed with. Her first scene as Wendla’s mother, and her portrayal of Martha’s mother were her best moments. I particularly loved both her posture and inflection as Martha’s mother, capturing the pain of knowing what her daughter was going through but not feeling strong enough or able enough to stop it.

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