The energy of performers and the audience alike was electric on the sold-out closing night of Paradok’s production of hit Broadway musical Spring Awakening, performed at Bedlam from the 12-15 of March. The performance paralleled the original Broadway production, and was both comedic and tragic in its cautioning of the dangers of denying teenagers the freedom of expression.
Despite technical difficulties delaying the show, the performance was seamless, with the actors, backstage crew and band working in flawless harmony. What is a demanding musical with a run time of two hours, was made to look effortless.
Hattie Sumners as Wendla and Daniel Fischer as Melchior were powerful leads: in “The World of Your Body” they mirrored and matched each other’s every movement, perfectly in sync. Sumners’ voice captivated the audience from her first number “Mama Who Bore Me.” Her performance allowed the audience to focus on Wendla’s character and fate, not solely in relation to Melchior. Tilda Dyer and Gemima Iseka-Bekano’s duet in “The Dark I Know Well” (portraying Martha and Ilse respectively) showcased their vocal talent, in a moment of solidarity and community between teenagers in the face of trauma. Shaun Hamilton as Moritz had the audience roaring with laughter in one moment, and overcome with waves of grief in the next. He conveyed the haunted depth behind Moritz as he transforms from having a largely comedic function, to being a central example of the consequences of parental control and oppression.
Ava Tumblety’s set design was simple but powerful in conveying the divide between teenagers and parental authority. The curtain backdrop of a veil manipulated the size of the Bedlam stage to juxtapose simultaneous scenes. The veil created a divide between the teenagers at the front and parents or authorities at the back, acting as a wall symbolising censorship and control imposed by parents. Intricate details such as the Latin words projected during “The Bitch of Living” amplified the fierce rejection of authority and the archaic teaching system imposed upon the teenagers. From the gothic punk channelled through Melchior to the fairytale innocence in Ilse’s clothing, the modern take on costumes (by Eliza Beecroft and Megan Fourie) instructed the audience not to leave the cautionary tale of the play in 19th century Germany but bring it to the present day.
The production, directed by Rue Richardson and Jane Morgan, exceeds expectations of student theatre, with a cast that radiated talent. In an age where young people are continually infantilised, and books banned and curriculums controlled, this homage to the original Broadway production is as relevant as ever.
Image by Beau Wolton, IG @beauwoltonisonline, via Bedlam Theatre