By Serena Benish
More than a double entendre of the title and subject matter, and even with the month of production, Spring Awakening, the University of Utah’s Department of Theatre production at the Babcock was at once gripping, spectacularly well-acted and directed, and a little bit ahem, startling, especially for the viewers from the hinterlands of Utah County. It was, however, the very open portrayal of impending sexual awareness in teens that made the play so incredible to experience and gave reason to ponder more in wonder at the artistry of the director, Denny Berry, and of the stellar cast.
As a parental tool, the play is invaluable. I sat with my savvy nearly 16-year old, who did not squirm in embarrassment at the more open but very tastefully staged depictions of sex, and it afforded me all sorts of paths for later dialogue about sexual awareness and teens. In fact, every high school and college Human Sexuality class should be required to see the play. It can open doors to wonderful discussions, throw out myths, and illuminate the dark and evil, sometimes unmentioned sides of sexual abuse as well as help define sexual questions — all within in the context of great theatre.
Because truly it is great theatre. The actors were mainly students in the University of Utah’s Muscial Theatre Program (MTP) with two wonderful and versatile “adult” actors, both faculty members in the U’s Theatre Department, who played various characters with such diversity, it was a marvel to discern how many different personalities they could embrace. Spring Awakening must otherwise be a youthful cast, and these student actors were magnificent. They captured the essence of naïveté of young teens in the throes of hormonal upheaval perfectly, but then one would become aware of the true mastery of acting that was presented. So many promising careers were evident on that stage — no missed beats, no momentary weakness in character or intent, no lack of skill in both singing and acting, because, oh yes, Spring Awakening is a musical, with thought-provoking lyrics and haunting melody and dramatic statements (titles not printable in Utah County, but which are very funny and quite applicable!)
The brilliance of the seamless passing back and forth from 1891 Germany to modern day music was one of the superb characteristics of this production. No doubt the conception of Steven Sater and Duncan Sheik, who used as a base for the musical the play of Frank Wedekind, this altered time frame never seemed unnatural, but rather a perfect blending into one of the two worlds, and it was captured remarkably by the direction of the venerable Denny Berry, a director/choreographer who is a veteran of really good theatre — the kind of theatre that IS Broadway and such large successes as 12 worldwide productions of The Phantom of the Opera, for which she did the casting, coaching and setting.(What luck has landed Ms. Berry here in Utah to head the U’s Musical Theatre Program can only be imagined, but were I a musical theatre student, I would try earnestly to be in her realm and shadow in every way I could.) The choreography was excellent, never detracting the singing as many modern non-singer choreographers do with their demands of gyrations that preclude vocal production. Instead, the singing was wonderful to this classical ear, completely void of shouting in that ill-conceived notion of singing, which too many amateurs pass off as vocalizing. Again, marvelously tasteful and completely artistic in every way — dancing, singing, and acting.
One of my colleagues who is a fine musical theatre director himself said, “It is a great reminder how we’ve come very far and yet some things haven’t really changed much.” That concept, the excellence of this production of Spring Awakening, both in direction and acting, and the notes of the director Denny Berry in the front of the program are what have given me a lot to think about — as a parent, a member of society, a teacher, and as another human being.
“It is exactly because every generation recalls this momentous journey [of the ‘coming of age’] that they seek to prevent what they already know are possible dangers and deviations inherent in the journey. However, by acknowledging the dangers and possible deviations, and being ready with answers or at least discussion instead of hard and fast rules and unyielding mandates from the past, an enlightened culture can help make this transition from girl to woman or boy to man less traumatic, more compassionate, and understanding.” — Denny Berry
Get thee to the U! Babcock Theatre, part of the Pioneer Theatre on the University of Utah campus!
Remaining Dates: Thursday, April 18, April 19 7:30 PM,Saturday, April 20 and Sunday, April 21, 2013 2:00 PM, 7:30 PM, Thursday, April 25 and Friday April 26 7:30 PM, Saturday, April 27 and Sunday, April 28 2:00 PM, 7:30 PM
Ticket Information:
General Admission $15
University of Utah Faculty and Staff $12
University of Utah Students Free with Ucard
All other students with valid student ID $8
“Go placidly amidst the noise and haste, and remember what peace there may be in silence.” Desiderata (Latin: things to be desired) Max Ehrmann, ca. 1920’s
“It is absurd to divide people into good and bad. People are either charming or tedious.” –Oscar Wilde
http://kingsburyhall.utah.edu/performances/spring-awakening
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