Marriott Theatre’s current production is chancy business. For a venue that theatre lovers have come to depend on for family entertainment over the years – wholesome G through PG rated shows such as “Mary Poppins”, “The King and I”, “9 to 5” and “Elf”, just to name a few, Executive Producer Terry James has decided to raunchy things up a bit by bringing in a much more adult-themed production in “Spring Awakening”. Not in Marriott’s subscription package, “Spring Awakening” is running for just over two weeks, and we have to wonder how receptive its normal crowd of theatre goers will be. Filled with f-bombs, simulated sex scenes and dark story lines, “Spring Awakening” will certainly take some of Marriott’s regular audience members by surprise if they attend without researching the play first.
A rock musical with music by Duncan Sheik and a book and lyrics by Steven Slater, the story takes place in Germany sometime during the late nineteenth century where a classroom of children are the focus as they learn about their own sexuality and question what they have been taught by authority figures, whether it be teachers or their own parents. Under rigid instruction from their teachers, the children often stand clad in school uniforms surrounded in a light fog in front of a large blackboard, giving one the feeling that stage band could break in to “Another Brick in the Wall” at any moment. Unfortunately, this show is not nearly as musically memorable as it strains to make any impact in that department, falling far short of shows one might suggest it is akin to as “Rent” or “American Idiot”.
Despite its less-than-charged or lack of unforgettable musical numbers barring a crowd pleasing, gut-punching “Totally Fucked”, the show is not without fine acting efforts and talented vocal performances, particularly by its two leads, Patrick Rooney and Eliza Palasz. Palasz quickly shows her aptitude as a singer in the show’s opening number “Mama Who Bore Me” and impresses along with Rooney in their first-act duet “The Word of Your Body”. There are also many well-choreographed and finely executed dance pieces by the ensemble throughout the show, which IS something that can be counted on in a Marriott Theatre production. Also featured in the show are Marriott favorites Brian Bohr, Nate Lewellyn and Kevin Gudahl, all of who performed wonderfully along with local talents Callie Johnson and Hollis Resnik. There is certainly no shortage of ability in this production.
Based on Frank Wedekind’s 1891 play of the same name, this somewhat slow-moving production centers on confused youth, the questioning of what we are told as kids, the lack of what we are told and the great distance that can often be present between a parent and their child. It is about growing pains, being misunderstood and dealing with the choices we have made – or having parents deal with their children’s choices as depicted so grimly in the show’s center act when Wendla (Palasz) gets pregnant, partly in thanks to the poor information given to her by her mother on how children are conceived. But the musical also delves into the joys of trying things for the first time, like creating new relationships or having sex.
Though certainly not the central point of this production, it was enjoyable to see the performing band as they surrounded each end of the stage as opposed to enjoying their musicianship while out of sight from the audience.
“Spring Awakening” is being performed at Marriott Theatre through January 31st. For tickets and/or more show information visit www.MarriottTheatre.com.
