On & Off Broadway

‘Spring Awakening’

Reviewed by Elyse Trevers

Posted

When we think of choreography, we generally envision the movement of dance. The exhilarating revival of Spring Awakening adds a special dimension to the definition, the hand motions of American Sign Language. Produced by the Deaf West Theatre, Spring Awakening has a double cast, a deaf cast consisting of eight performers, and hearing counterparts who speak and sing as the words are being signed. Most of hearing performers also play instruments.

The deaf performers are usually in the spotlight while the singers are in shadows, sometimes even with their backs to the audience. I was fortunate to see the first iteration of the musical three times. So I wasn’t exactly excited about seeing a revival so soon. However, this isn’t a revival; it’s a revelation!

Featuring an alternative and folk rock score by Duncan Sheik, the show, which won several awards, including the Tony-Award for Best Musical in 2007, is based upon Frank Wedekind’s 1891 play. Set in the late 19th century in Germany, the play deals with the sexual awakening of teenagers. Despite that time period, the show’s profound themes of abortion, suicide, alienation and sexuality remain topical.

The language can be a bit raw and there’s some nudity that, sadly, may preclude many teens from seeing the show. Ironically this is the very same group that could probably identity most with it. The story continues to be poignant, touching and often heartbreaking.

The play was banned in 1891and the revival makes a point of connecting the play to the banning of sign language in schools across Europe and the U.S. in 1880. Oralism, which involved reading lips and mimicking mouth shapes, etc., was declared to be “superior.” The play highlights a time of miscommunication and misunderstanding, particularly for young people.

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