DePaul University’s highly anticipated production of “Spring Awakening” has finally hit the stage. It is a powerful show that has barreled into the Merle Reskin Theatre with gusto and grace.
“Spring Awakening” chronicles the lives of several young individuals growing up in late 19th century Germany. The students are in their vivacious sexual prime and are tormented by the silence and oppression that the adults around them inflict. They all lead unique lives that coincide perfectly in their individual searches for truth, experience and sensation. Their veiled understanding catapults the audience into an intense quest for discovery. It is a bold allegory that embodies the importance of sexual awareness; it is a surprising but wonderful choice for DePaul.
The Theatre School does not usually treat the public to musicals, making this fall’s production a rare and dynamic one. “Spring Awakening” is bright, unapologetic and doesn’t shy away from anything while reveling in its raunchy nature. It is wonderfully obscene and is every bit as provocatively hilarious as it is heartbreaking.
The cast is led by Sonaz Izadi playing the young Wendla and Joe Keery portraying Melchior. Both are dynamic and ignite special chemistry, though it is Izadi who truly shines; she bears a striking resemblance to the original Broadway Wendla, Lea Michelle. She carries the role with a grace and tragedy that drives the play. Her voice is pure and haunting; it saturates each song with life.
David Giannini, who plays the young Hanschen, is delightful to watch as well. Though he portrays a minor character, his voice is mesmerizing and he provides many of the laughs to match the heartbreak. His character is arrogant, but somehow incredibly endearing; it is a testament to Giannini’s acting abilities.
Through complex characterization and beautiful melodies, this show serves as a reminder that it is good to be alive and insatiable. It pulls the audience into the tumultuous minds and bodies of young people striving for understanding where none is provided.
“It’s a relatable and endearing story for anyone,” said David Solberg, a DePaul freshman student. “It’s a thought-provoking message about how love and the human experience should be celebrated, not scorned.”
The cast possesses a series of unique voices that, while stunning individually, do not always blend well. The challenging music makes for more than a few missed notes, though the energy and vivacity of the cast molds all “pitchiness” into an endearing aspect of the show. It challenges the audience to leave stipulations behind and take a journey, transforming the show from a piece of inaccessible art into an intimately shared experience.
DePaul’s rendition of “The Bitch of Living” left a lot to be desired. It is one of the most beloved songs in the musical, but fell flat during this performance; the song necessitates energy that overflows. While the choreography was enjoyable, the execution was a little rocky and lacked the dynamism that makes it what it is.
On the other hand, the cherished “Spring Awakening” song “Totally F**ked” is executed wonderfully. Perhaps the cast has settled into their own a bit more by this time in the show; they simply nail it. The choreography is spontaneous and this rendition captures an air of defiance that imbues the entire musical with excitement.
Overall, the show operates very coherently on DePaul’s stage. It is not an easy production to “do well.” Its message rings clear at the Merle Reskin, a unique and inclusive atmosphere. There is something especially intriguing about watching members of the DePaul community breathe life into this controversial masterpiece of a show.
Stylistically, “Spring Awakening” at DePaul is beautiful. The costuming is wonderfully eye-catching. It is flawless, detailed and captures the rigid nature of characters that are bursting at the seams. Its traditional nature collides brilliantly with a visible and modern instrumental section in the back of the stage. DePaul’s production has implemented a brilliant culmination of the old and the new, creating a show that transcends its time period and marches straight into the contemporary heart.
The show concludes with the mesmerizing “Song of Purple Summer.” In this last number, the cast and their voices culminate beautifully. At one point, the instrumentals stop, allowing the actors to sing a couple of lines a cappella and bringing goose bumps to the arm of every audience member.
“Spring Awakening” is a treat that every DePaul student should experience. This show creates a place in which the line between audience and performer is blurred. It is a tangible theater experience that is full of strength and elegance.
“Spring Awakening” will run through Oct. 6.