Andrew Limansky as Melchior Gabor and Sophie Snider as Wendla Bergmann. Photo by Machpe Photography.
There is something about 19th century German teenagers casually cosplaying as rock stars while singing Duncan Sheik’s pop-infused “Spring Awakening” score that reignites the soul. This strikingly profound and profane musical won nine Tony Awards in 2007, including Best Musical. It has obtained a cult following ever since, especially considering the enduring success of original lead actors Jonathan Groff and Lea Michele.
The cast emits such palpable levels of energy and passion that the air in the small black box space seems to shimmer at times.
The story of “Spring Awakening” is based on the plot of the 1891 German play of the same name. It follows Melchior Gabor (Andrew Limansky), a German schoolboy, and his classmates as they navigate puberty, academic rigidity, and the harshness of the adults around them. Melchior, an atheist and a cynic, attempts to help guide his best friend, Moritz Stiefel (Max Ryon), through his issues with school and his permeating sexual desires. Melchior also begins a sexual relationship with schoolgirl Wendla Bergmann (Sophie Snider), who laments to her mother that she does not know how babies are made because her mother will not tell her.
The cast of the Maryland Theatre Collective’s production emits such palpable levels of energy and passion that the air in the small black box space seems to shimmer at times. Limansky, in particular, sinks into the role of Melchior, portraying a sly version of the character who is confident and suave when discussing theory but becomes maddened and disturbed when confronted with his own humanity and sexuality. Limansky demonstrates a quite layered understanding of his own physicality for such a young actor. His performance is remarkably bold, particularly in “The Mirror-Blue Night” where he wrestles with the very reality of his own body. In “Totally F***ed,” the standout number from the show, Limansky completely lets go of his inhibitions, nobly sacrificing his usual pitch-perfect tone for a guttural growl-like quality that lends itself perfectly to the crassness of the number and the anguish of a boy dealing with loss. While Limansky is too quick to melt down towards the end of the show, he ultimately navigates an incredibly difficult role with the poise and talent of a much more seasoned professional.
As Limansky’s stage partner, Snider certainly matches his vocal talent. Snider and the hauntingly aloof Frankie Marsh as the outcast, Ilse, ensure to differentiate themselves from the lauded original cast of the show, sprinkling in different vocal choices that serve to strengthen their performances. Snider is untouchable, not fully human—at first—as the (admittedly underwritten) naive Wendla. Both Limansky and Snider are wonderfully meticulous when it comes to addressing their characters’ humanity (or lack thereof). An early review of the original production before it reached Broadway criticized the show for the three central characters (Melchior, Moritz, and Wendla) “not really emerg[ing] as fully human figures.” Limansky and Strider take this challenge on directly, choosing to interpret the characters much differently in order to fulfill their humanity. Strider’s Wendla experiences a very fleeting moment of full humanity—she is not human until she understands what being human actually means.
As Moritz, who often serves as the heart of “Spring Awakening,” Ryon makes a valiant effort in the role. He certainly has the vocal chops and the unkempt hair, but his Moritz comes on too hard too quickly. From his first conversation with Melchior about a recent nightmare, Ryon’s intensity is already at full blast, leaving him no room to build a character arc. When other characters mention that he is “trembling,” for instance, Ryon is virtually seizing. Many of his lines are delivered as a yell or a scream, making many of them unintelligible.
The supporting actors are often the most fun to watch. Maxwell Wolf as Hanschen steals every scene he is in with his hilarious physical choices and his unabashed embracing of the promiscuous content of the show. Marsh fills an interesting role as Ilse. In the first act, she serves mostly as a prophetic observer, accompanying several songs with guitar. This was a quite compelling production choice, and would have been elevated if she had been a more consistent observer (this thread is mostly abandoned in the second act). As Adult Women, Alissa Margolis is able to flit from a scandalous piano teacher being motorboated by her student to a desperate mother clinging to traditional ideals with tremendous skill.
Director/choreographer Tommy Malek chooses to play up the comedy of Adult Men and Adult Women, particularly when they are serving as school faculty. While Margolis and Jim Adams are hilariously funny, the overzealous use of comedic choices lessens the weight of their actions. This musical usually serves as a warning, especially for adults. The adults in the show either act as direct or complacent forces in the tragic events that engulf the schoolmates—as well as Martha (played by Cera Baker)—squandering the potential of three, misguided children whose questions about the world were wrongly spurned.
Malek is delightfully youthful in his choreography of the show. The ensemble numbers often consist of much childlike jumping and laughter. The cast clearly finds a palpable amount of joy in performing the more jovial numbers. The choreography in “The Dark I Know Well” is particularly creative—two actors huddle around Adams under a sheet to create a larger monster that pulls Ilse and Martha in by blood-red strings. Lighting design by Thomas P. Gardner is quick, bright, and reminiscent of a rock and roll concert, providing an intriguing contrast to the late 19th century costumes, also by Malek, as well as the traditionally wooden and floral set design.
This production of “Spring Awakening” brings new faces to the now almost 20-year-old show. It warns, once again, of the dangers of censorship—a theme that continues to ring true over a century after the original play was penned. Our children are our future, and these actors are no exception.
Running Time: Approximately two hours and 30 minutes, including a 15-minute intermission.
Advisory: Explicit language, sexual content, suicide, use of prop weapons, violence, and abortion. Not recommended for audience members under 16.
“Spring Awakening” runs through July 28, 2024 presented by Maryland Theatre Collective at the Chesapeake Arts Center, Studio 194, 194 Hammonds Lane, Brooklyn Park MD 21225. For more information and to purchase tickets, go online.
