BWW Reviews: SPRING AWAKENING, International Youth Arts Festival, July 7 2011

Kevin Sherwin

It's been just over two years since the lauded (and doomed) West End production of Spring Awakening closed, and to those possibly still in mourning, the steady flow of new productions must be of some comfort, even if it would be unrealistic to expect any of them to recreate the experience of seeing that cast in the Lyric or Novello.

It was with that in mind that I attended a Royal Gala performance of the Arts Educational Schools London take on the musical (part of the International Youth Arts Festival), based on Frank Wedekind's eponymous play and furnished with Duncan Sheik and Steven Sater's gorgeous music and lyrics respectively. The Royal in question was HRH The Earl of Wessex, also known as Prince Edward, and I couldn't help but wonder if he knew what he was letting himself in for as he took his seat; the show's heady mix of teen sex, masturbation, incest and suicide isn't exactly what you'd call Royal Family-friendly.

From the first seconds of the production, it's abundantly clear that aping the Broadway and West End productions is nowhere on the creative team's agenda - the set is comprised of eight dormitory beds, a decision that puzzles momentarily before their versatility becomes clear: at various points in the evening, they become church pews, a piano, and finally a grave or two. They are also used to fantastic effect as platforms for the supremely talented cast to perch upon, leap off and dance across.

This production has many things in its favour, but none more so than the incorporation of breathtaking contemporary dance throughout. David Greenall's choreography is superb and beautifully brought to life; I gasped during Don't Do Sadness/Blue Wind as Moritz (Dan Reilly) flipped mid-air to land perfectly on a human chair (difficult to describe, astonishing to witness). Reilly is excellent - fragile and beguiling, with a beautiful tone and a physical grace that is as impressive as it is unexpected. Samuel J Weir, soon to be seen in Parade at the Southwark Playhouse, has great presence as Melchior, and the friendship between the two is very well-played, with a bit of homoeroticism thrown in for good measure.

There isn't a weak link among the company - everyone is noticeably committed throughout, and it's a credit to director Russell Labey (not to mention the young cast) that the performances are as focused, subtle and engaging as they are. There are moments that don't quite work: some vocal ad libs during the otherwise stunning Touch Me could have done with being dialled down a notch or three, and The Dark I Know Well misses the mark in eliciting sympathy for the character of Martha - here, she's furiously sassy rather than wounded. The jury's still out on the tone of The Song of Purple Summer, too: instead of being solemn yet hopeful, the characters greeting each other plays more like the last scene of Grease, in a the-gang's-all-back-together-even-though-some-of-us-died-lol kind of way.

There are dozens of moments that work magnificently, though, and the points above are minor quibbles about an exhilarating, vibrant and fabulously realised production that isn't afraid to be its own beast, and is in fact all the better for it. My companion for the evening (who regards Spring Awakening as the only musical she actively likes) preferred it to the West End version; I haven't quite made my mind up about that, but the fact that it needs some consideration - and it really does - shows just what an immense pleasure this production is.

Oh and Prince Edward Seemed to like it too.

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