The Word of Your Body

Spring Awakening – Porchlight Music Theatre

In late 19th century Germany adults ruled their children with an iron hand while turning their backs on how teenagers coped with the puzzlement of puberty. Victorian society repressed their sexuality and, in particular, ignored the physical and emotional changes taking place within their kids. But questions about where babies come from, the strange changes occurring in their bodies and the unfamiliar feelings and desires surging through their minds continue to preoccupy the adolescents, even today. The characters in this musical simply explode, bursting with angst and yearning. Their songs are plaintive and mournful, or filled with fury and frustration, and danced with turbulent energy to a contemporary, folk-rock score that contrasts significantly with the the composed and cool turn-of-the-century book scenes. 

Sixteen years after it opened on Broadway to wild critical and popular acclaim (winning 8 Tony Awards, including Best Musical), Steven Sater and Duncan Sheik’s revolutionary exploration of teenage self-discovery and growing sexuality has made it to one of Chicagoland’s most respected professional theatres. This is one piece of theatre that should not be missed. Just as “Hair” revolutionized musical theatre in the late 1960’s and “Rent” left its indelible mark on the late 1990’s, this show will long be remembered as a work that helped redefine 21st century musical theatre.

Sater adapted Frank Wedekind’s banned 1891 German expressionist drama into the book for this musical and contributed the lyrics to Duncan Sheik’s electrifying, often haunting folk-infused rock score. The juxtaposition of these two diverse art forms creates a brand new genre of theatre. Actors in period costumes and hair (designed by Bill Morey and Kevin Barthel, respectively) perform upon Christopher Rhoton’s almost bare, wooden set, adorned by just a few chairs and benches under Patrick Chan’s inventive, blazing, strip and rock concert lighting. One minute the teenagers are reciting their Latin lessons; the next they’re exploding violently in song with anger and repressed sexual energy. 

However extraordinary, this may not be the show for everyone. Although it’s the perfect musical for teenage audiences speaking, as it does, directly to their interests, needs and concerns, the production contains mature themes, sexual situations, partial nudity and strong language. It’s a very daring examination of morals and formalities of a certain time and place, while combining a 21st century shameless, unabashed, in-your-face theatricality. 

Two very talented veteran Chicago actors portray all of the adult characters in this production. Commanding and articulate, McKinley Carter and Michael Joseph Mitchell seem to effortlessly transform from stern schoolmasters to the children’s various strict parents, often in the blink of an eye. In the way these two actors inhabit the themes of Wedekind’s original play, Ms Carter and Mr. Mitchell are the highlight of this production. 

Jack DeCesare turns in an interesting, often captivating performance as Melchior, the rebellious, freethinking young protagonist of this musical. Although, sometimes, his strong vocals sound a little flat, but his finely-tuned dramatic choices help turn this teenager into a kind of adolescent Everyman. Mr. DeCesare is particularly at his best in Act II, when he finds his world crumbling around him, especially in the poignant “Left Behind.” As Wendla, lovely Maya Lou Hlava is absolute perfection. She sings clearly with plenty of polish and heartfelt passion. Her rendition of “Mama Who Bore Me,” as well as her duet with Melchior, “The Word of Your Body,” are especially stirring. Ms. Hlava appears to be authentically young and innocent as a young girl trying to understand the feelings and changes she’s experiencing at this time in her life. In Act II this wonderfully talented young actress finds the necessary vulnerability and helplessness that’s so vital to portraying Wendla.

Quinn Kelch stands out in this production as Moritz, but sometimes his portrayal seems a little over-the-top. Mr. Kelch inhabits this troubled teenager, whose perplexing struggle with puberty is as confusing and frustrating as his attempt at academic achievement. Moritz’s slouched stockings and rumpled hair are metaphors for the muddled mess buried inside, especially while bitterly spewing forth “The Bitch of Living.” In Act II, despite all odds, the young man bravely but grievously proclaims, “I Don’t Do Sadness.”And later, in the show’s sad, final moments, Quinn joins Mr. DeCesare and Ms. Hlava in the affecting finale, “Those You’ve Known.”

Other standouts in this production include John Marshall Jr. as Hanschen, the handsome, self-assured teenager who finds sexual release behind closed doors and, sometimes, with other young men; Kelan M. Smith as Ernst, a shy teenager who eventually relaxes enough to proclaim his secret crush with another student; Juwon Tyrel Perry as Georg, a juvenile piano student whose enthusiasm includes sexual fantasies involving his instructor; Ariana Burks as Martha, a sweet, young girl who secretly endures untold physical and sexual abuse at the hands of her father, expressed musically as ”The Dark I Know Well;” and pretty Tiffany T. Taylor as Ilse, an independent young woman who has run away from home and is living unhappily among the free spirits of a local artists’ colony, shared with Moritz in the lovely song, “Blue Wind.” Strong vocal performances are also contributed by ensemble members Maddy Kelly as Thea, Sydney Monet Swanson as Anna and Kevin James Sievert as Otto.      

What emerges in Porchlight’s production is a brilliant piece of theatre that speaks loudly and profoundly to modern, openminded audiences. The story may be from another era but, enhanced by Duncan Sheik’s melancholy, folk-infused rock score, accompanied by a talented orchestra and sung by a brilliant, eager young cast, Frank Wedekind’s ideas emerge as fresh and contemporary. In fact, it’s sad to realize that many of the same issues from 1891 Germany are just as relevant today. Conversations about sexuality, masturbation, unwed pregnancy, suicide, physical and sexual abuse, abortion, homosexuality and religious doctrine are still taboo. Passionately performed by an accomplished cast, this production is sensitively directed and boldly choreographed by Brenda Didier. She’s well-assisted by Musical Director Justin Akira Kono, who also conducts his brilliant, seven-member onstage orchestra. This is a starkly beautiful, in-your-face production that will rock audiences to the core, provoke conversations and haunt them long after the final bows.

Recommended

Reviewed by Colin Douglas

Presented April 28-June 2 by Porchlight Music Theatre at the Ruth Page Center for the Arts, 1016 N Dearborn St., Chicago.

Tickets are available at the theatre box office, by calling 773-777-9884 or by going to www.PorchlightMusicTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.