Review: Musical talent sings in Chance Theater’s ‘Spring Awakening’
- Anita W. Harris
- Jul 28
- 4 min read
It’s hard enough being a teenager, caught between childlike innocence and blossoming adulthood. Now imagine being a teenager in 1891 Germany, where your home, school and religion impose strict rules on your behavior while silent about the strange things happening to your body, leading to confused desires that must be kept secret.
Such is the scenario in “Spring Awakening,” a 2006 folk-rock musical by Duncan Sheik and Steven Sater closely based on a controversial 1891 German play of the same title. In Chance Theater’s current production, a multi-talented cast brings to life the angst (and Sturm und Drang) of these teens, making their plight palpable and feelings visceral — all with musical aplomb and a healthy dose of humor.
Fluidly directed by Jocelyn A. Brown, with music direction by Robyn Manion and choreography by Mo Goodfellow, eleven young actors (all well cast by Lindsay Brooks) portray the town’s tormented teens, grappling with awakening sexual desires under the suppressive thumbs of their parents and teachers.
The musical has the teens in 19th-century Amish-style clothing (costumes by Bradley Allen Lock) at school, home other places on a minimal wooden set (scenic design by Bradley Kaye) but regularly breaking out in modern folk-rock song to express their feelings.
Those songs include “My Junk,” “The Word of Your Body” and the funny and relatable “Totally Fucked” about having no way out when caught doing something considered wrong. The cast sings most songs harmonically as an ensemble with some solo parts, and several also play instruments on stage, which include guitars, cello, bass and drums.
Corydon Melgoza as Melchior anchors the production with stage presence, acting and singing, embodying his character’s intelligence, knowledge and growing awareness of just how unnecessarily oppressed he and his peers are by the adults in their lives.
Erica Farnsworth and James Michael McHale (also on bass) have the unenviable job of portraying those grownups — from schoolteachers to parents — all oblivious to the disastrous effects they have on their young-adult charges.
McHale is especially threatening as a schoolmaster, abusive father, self-righteous preacher and furtive doctor. And Farnsworth is especially sympathetic as Melchior’s mother, who, when she advises her son's troubled young friend Moritz (Brody Tarrant Sitton) in a kind and meaningful way, is still put in the position of an adult who just doesn’t understand.
Kayley Stallings as young Wendla — who develops romantic feelings for Melchior and matches Melgoza in singing strength — brings home the consequences of keeping girls ignorant about their bodies and where babies come from.
Interestingly, an intimacy scene at the end of the first act between Wendla and Melchior was rewritten between the show’s off-Broadway and Broadway runs to include explicit consent rather than the more realistic scenario of rape, given the girl’s relative unawareness.
But the play doesn’t shy away from portraying child sexual abuse in the homes of not one but two female characters. One of those girls, Ilse (Isabella Kaplan, also on guitar), is thrown out of her home and lives with bohemian artists who also abuse her. The other, Martha (Emma Magbanua, also on flute and bass and formidable in singing “The Dark I know Well”), shows her friends the welts and bruises she endures from her father, but stops short of sharing about his sexual abuse as well, fearful that she too will end up on the streets.
And poor Moritz also ends up shunned by his status-conscious father for being held back a grade. Sitton exudes the despair and torment of a bewildered soul who has no adult to guide him, refusing even Ilse’s offer to somehow return to their childhood playing pirates.
Each actor brings their all to their performance, even in secondary roles, infusing their lusty or lost characters with humor, humanity and emotional resonance. Shoutout especially to Caiden Falstrup-Finney as young Hanschen, amusingly masturbating while reading literature.
The stellar cast makes Chance Theater’s “Spring Awakening” a moving, must-see theatrical event. Just brace yourself for teens who have little else to think about, feel or do besides their own bodies, anguish and “The Bitch of Living.” But maybe some things never change.
“Spring Awakening” continues through Aug. 10 at Chance Theater, 5522 E. La Palma Ave., Anaheim, with shows Thursdays at 7:30 p.m., Fridays at 8:00 p.m., Saturdays at 3:00 p.m. and 8:00 p.m., and Sundays at 3:00 p.m. For tickets and information, call 888-455-4212 or visit ChanceTheater.com. Run time is 2 hour and 20 minutes, including intermission.
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