22 Jul 2024
Deborah Heath is back at the Roman Theatre Festival for this rather racy production from St Albans Musical Theatre Company…
I’m embarrassed to say that I had not heard of ‘Spring Awakening’ before attending this SAMTC production at the Roman Theatre. Coming at it afresh gave me quite a surprise for here is a rather deep and affecting musical which left me pondering some social issues rather than dancing out with a new ear-worm. It was a brave choice for SAMTC and I applaud them for proving that musical theatre can challenge its audience.
Known for their striking scenery, I was impressed with the way SAMTC put their own stamp on the Roman Theatre Stage.
Andy Rose created the perfect atmosphere for this tale, set in late 19th century Germany; the set was classically beautiful with a swing seat bedecked with climbing plants, a tree and hay bales which became multi-functional props. This simplicity was important because of course the verdant grounds of the Roman Theatre provide a perfect backdrop for a tale centered around the natural blossoming of adolescent sexuality.
Melissa-Rose Muirhead’s costumes were also very well executed; appropriate for the time and period whilst being easy to change between quickly for those doubling up.
The score for this musical is fun and musical director Cam Wilson’s talented band never seemed to tire. Arguably there were perhaps a few too many songs – they didn’t all drive the plot forward or illustrate an emotion that hadn’t already been expressed. However, I loved the mix of rock and folk styles.
What worked particularly well were some of the partner songs such as “Don’t Do Sadness” and “Blue Wind”, performed with on-point emotion by Samuel Jackson- Hale and Lily Tello. Melissa-Rose Muirhead’s choreography swung between the touchy-feely and energetic. A favourite moment of mine was the use of chairs within the dance to “The Bitch of Living”.
The story of ‘Spring Awakening’ explores the developing sexuality of a group of teenagers in a very strict and religious society. Unable to ask their parents about the birds and the bees many of them end up in rather perilous conditions. Now, although much of today’s youth are in a better position, we must remember that in many societies these issues are still going on, and it sent a shiver down my spine to consider this.
The action of the play is not only disturbing (and appropriately so) but rather racy. I was extremely glad I hadn’t attended with my teenage sons or we would have all been feeling awkward. You know what it’s like when you are watching a perfectly respectable film and all of a sudden the lead man gets his bottom out and your parents walk in – well rather like that!
I must applaud leads Guy Conroy-Smith and Laura Horton who not only commanded their acting roles but proved themselves to be accomplished singers and movers too.
Melchoir and Wendla were challenging roles with demands that would have made some actors uncomfortable. Intimacy coordinator Dom O-Hanlon clearly did a great job in giving them the confidence they needed.
Although I do not have space to name them individually, I was impressed with the whole company. This is one of those musicals that needs real triple-threats (performers equally hood at acting, dancing and singing) because this is anemotionally charged story that needs to be in the hands of strong actors. A perfect example was Samuel Jacson-Hale as troubled teen Moritz who gave a poignant performance throughout and could really convey emotion in a song.
I found it confusing that most of the adult roles were played by the same two actors and am not clear if this was a writer’s or directorial decision. I wonder if it was made to illustrate the point of view of the main characters that all adults are the same with their rules and lack of compassion; if so I applaud it, if not, it was rather tricky to keep track.
‘Spring Awakening’ was a bold choice of musical from SAMTC and perhaps we need a little more of this in musical theatre. Yes, much of the action made me feel uncomfortable but the show did highlight the heightened emotions of youth very well and I am pretty sure this was the impact that the creative team were going for. A very well-executed performance of a challenging script.
