Stuart Thompson and Carly-Sophia Davies in Spring Awakening at the Almeida Theatre, London. Picture: Marc Brenner
Spring Awakening continues at the Almeida Theatre, London until 22 January 2021.
Star rating: four stars ★ ★ ★ ★ ✩
It was more than ten years ago that the rock musical Spring Awakening had its premiere in the UK at the Lyric Hammersmith. Based on the 1891 play by Frank Wedekind, it explores the challenges of adolescence among a close-knit community in Germany. Although a relatively unlikely subject for a musical, Duncan Sheik’s vibrant, emotive score captures the ecstasy and angst of teenage life pretty vividly. The Lyric production, which later transferred to the Novello produced a whole host of new names who are now regular faces in the West End including Lucy May Barker, Natasha Barnes and Jamie Muscato. Aneurin Barnard and Iwan Rheon both won an Oliver for their roles as Melchior and Moritz respectively.
The current revival directed by Rupert Goold at the Almeida is a slick, stylised production, tapping in to the new wave of young voices who are calling out politicians and world leaders for lack of vision beyond their own generation. This is a Spring Awakening for the Thunberg-era. We may live in a world where access to information comes at the touch of a button but the tragedy of mis-information is even more perfidious. Steven Sater’s book and lyrics still pack a punch but it’s Goold’s knowing production that touches a nerve. More than once it issues an unspoken challenge to the audience, forcing us to sit up and take notice. It even occasionally breaks the fourth wall, hilariously so during the number ‘My Junk’.
This energy is underscored by Lynne Page’s gutsy choreography, mirroring the maelstrom of emotions that define the piece. One moment there are straight, formal lines, the next it’s a free-for-all – a frenzy of limbs punching at the air and humping the scenery.
Miriam Buether’s set design looks relatively simple, with the stage transformed into a series of steep black steps leading to a glass-fronted walkway against the backstage wall. There’s nowhere to hide on this stage, but gradually trapdoors appear and the glass is in fact smart glass, able to black out at a touch. The versatility and movement it creates, along with Finn Ross’ playful video designs and Jack Knowles’ lighting gives the impression of a much larger space.
From a casting perspective, there’s every reason to believe that the current company will go on to forge long and rewarding careers in theatre, should they choose. There simply isn’t a weak link.
Carly-Sophia Davies is a wan, distracted Ilse, the background figure whose presence is both a warning and a wakeup call. Nathan Armarkwei-Laryea’s Hanschen is an enigmatic mix of innocence and arrogance. Indeed each member of this ensemble brings a strong sense of identity to every character, whether they are given dialogue or not.
Arguably the most familiar face here is Laurie Kynaston, who won the Evening Standard Award for Emerging Talent in 2019. As Melchior he brings a wealth of understatement to the role of the intelligent, out-spoken student. There’s warmth in his relationships with Stuart Thompson’s Moritz and the others but there’s a coolness too. A detachment that sets him apart. He meets his match in Amara Okereke’s Wendla, finding someone he can teach, but who also teaches him. Okereke’s emotive vocals open the show with the powerful yet ominous ‘Mama Who Bore Me’, immediately setting the tone and underlining the themes of curiosity and longing.
Thompson is sublime as the anxiety-ridden Moritz, aching to do better and yet devastated at his perceived failures. Perhaps more than any of the cast Thompson captures the absolute pain of youth, his body wracked with tension. Moritz’s final scene with Ilse is heart-breaking in its inevitability and his death all the more shocking for it.
It’s a painful and uncertain time for theatre at the moment, so what Goold and his team, especially musical director Jo Cichonska have achieved is remarkable anyway. That it’s also polished, intelligent and packed with engrossing performances makes it a highlight of the winter season.
Paul Vale
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