Archive for category Spring Awakening
Spring Awakening
Posted by Martin in Augustine's, Brett Herriot, Spring Awakening on August 20, 2011
MUSICALS***** Spring Awakening
Augustine’s
Edinburgh University Savoy Opera Group mark the start of their 50th anniversary year with a beautiful and powerful production of Duncan Sheik’s and Steven Sater’s Spring awakening.
The production is based on the original German play by Frank Wedekind, Set in late-19th century Germany, it concerns teenagers who are discovering the inner and outer tumult of sexuality. The original play was banned in Germany for a while due to its portrayal of abortion, homosexuality, rape, child abuse and suicide. What director Sarah Haddath has done to beautiful effect is stripped the show back from the wider known Broadway and west end productions and completely allowed her cast to engage with topics involved rather than merely rehearsing a show for the stage. This shows on stage by the complete connection the ensemble cast have with the piece. It is also commendable for removing the dance element and replacing it with a stunning sequence of physical theatre which completely changes the over all affect of the production for the better.
It has been shorted to fit into the 90 minute late night slot but the timing and length only had to the worthiness of the production. Using a black box theatre and a selection of child like chairs to depict scenes allows the audience to really focus on the performances and what performances they are. In the role of Wendla, Emma Middleton excels with conviction at what she wants from sexual contact and at the sheer horror of what underage and unprotected sex can have. Combined with the efforts of Hamish Colville as Melchior who sings with a rich baritone voice, his character paid the price for that of Moritz, played by Finlay MacAulay, watching Finlay on stage is simply breath taking and beautiful as the sheer intensity of the character’s fall into emotional despair brought tears to my eyes, his truly is an unforgettable performance. Special mention must also go to Ewan Mood as Ernst and especially Dominic Lewis as Hanschen. Their depiction of a blossoming gay love is to be commended, with Dominic giving just the right level of sassiness to woo the impressionable Ernst, The kisses felt real and not a straight man playing gay on stage.
The whole show is anchored by a lovely acoustic band under the direction of Luci Holland, and what you ultimately get is one of those very rare moments in fringe theatre and that’s a production that can’t be topped because of its sheer individuality and excellence of performance. This is the stand out musical of the 2011 season and if you’re ready to embrace the freedom of self exploration then this show is a must.
Spring Awakening
Posted by Martin in Brett Herriot, C Venues, Spring Awakening on August 5, 2011
MUSICALS**
Spring Awakening
C Venues @ 13:30
Frank Wedekind’s once banned play of Morality and Sexuality was given a new lease of life thanks to the book and lyrics created by Duncan Sheik and Steven Slater.
The stories tale of redemption, forgiveness and hope born of love is not a common choice for a schools production but Gordonstoun School have taken on the challenge which works to a degree.
Using a beautiful set made of wooden ladders, and a ring of trees with a cascade of leaves lying around the intimate stage of C-1. There is also a nice live band positioned high up by the lights of the stage giving a good soundscape to the show.
Oscar Macdonald plays the pivotal role of Melchoir the Rebel and succeeds in getting to grips with a highly complex emotional character and is supported by Aynsleigh McGhie as Martha the Abused also shining in an emotive role.
Where the production fails is mainly due to the battle with the sound element, the cast of 14 are all wearing head mic’s even though some of them stick out like a sore thumb with strips of Elastoplast trying to cover black mic cables on white actors. The sound came and went from the speakers and we also had random flashes of moving lights which were quite clearly not part of the action.
The staging of the production meant there was no masking of the wings, and idea which can work if the cast are aware they can be seen and easily pull focus from the stage. Sadly this happened on to many occasions with performers having discussions, costumes being fixed and altered when it clearly was inappropriate and on one occasion an actor went flying over a piece of set.
My particular bug bear is surrounding Rob Luke’s performance as Hanschen, Hanshen is a character coming to terms with his homosexuality and the world around him. What should be deeply emotional and complex coming to terms and showing of love with Simon Dethleffsen character of Ernst is reduced to nothing more that Comedy Fodder which is in stark contrast to Wedekind’s intention.
A production with promise, let down by technical and staging issues and trivialisation of emotional story elements.
