With a Cool Production Dynamic that Involves their STAGES Apprentice Program
When I was starting my career in theatre (and a professional pivot), I was working at an In the Heights press junket as Lin-Manuel Miranda sought funding for the film adaptation of the musical. A journalist, while talking, asked me if I had seen Spring Awakening, to which I said no. “You have to see Spring Awakening, you just have to, it’s life changing”. The second U.S. tour was coming to Los Angeles, so I went. It was life-changing.
Theatre meshed with rock music by Duncan Sheik and book and lyrics by Steven Sater. A story about a group of teens who attend school and grew up together in late 19th-century Germany, with a stern education focused on appearances and what others think or might think. Based on the 1891 German play with the same title by Frank Wedekind, it dives deep into sexuality and the feelings that come with it, and in that environment, like confusion, torment, and questions, all bundled in teenage anxiety. It also touches upon gaslighting, abuse, and suicide. The work is well-written, multi-layered, and powerfully intense, focusing on the teens at one end and the adults on the other, as parents and mentors, with their fears, repressions, and shortcomings.
Curiously, a couple of years after I saw the musical at The Pantages, I traveled to Mexico City with the intention of working on the Mexican production, “Despertando en Primavera”. This world is so small and weird that Wendla was played by Melissa Barrera, who played Vanessa in the movie version of In the Heights. I could not, not share this with you.
Well, the marvel is back, and now in Oceanside at OTC, with a cool production dynamic that involves the company’s STAGES Apprentice Program, which combines students, early graduates, and professionals on one stage. The cast is made up of the students Jensyn Berreitter (Ilse), Phoenix Velona (Ernst), Wyatt Van Hazel (Otto), Tirzah (Thea), and Alyssa Indegno (Anna) from MiraCosta College; Zaine Hahn and Olivia Yee (Onstage Swings) from Palomar College, and Rachel Downs (Martha) from CSUSM.
Luca Stapleton is Hancshen, and Ryan Hage is George. Sarah K. Pierce is Wendla, Joshua Powers is Melchior, and Marlon James is Moritz. Erica Marie Weisz and Durwood Murray Jr. play the adult roles.
I had to mention them all before I got to the actual review because it is important. The combo worked, and it is great to see how well-prepared these young performers are, as well as the nice job the company did overall.
Amongst the various debuts, I did recognize some faces like Tirzah from Moxie’s Man and Moon and the Broadway San Diego Awards, Phoenix Velona from Trinity’s 35MM, and, of course, Craig Noel Award Nominee, Marlon James.
Sarah K. Pierce and Joshua Powers form a powerful duo, portraying harmonious vocals and an intentional approach.
Erica Marie Weisz is excellent in comedies, and I was delighted to see her in this role, which effectively showcased her training through various shades of sensuality, seriousness, tenderness, and choreography. I appreciated EY Washington‘s choreography, especially the ones with Erica and Durwood.
Gerilyn Brault directed the piece and designed the sound; as I mentioned in the review for PROM, Brault has proven a good eye for musicals. There is care and sensitivity in her work, and for this one, especially, it is not an easy task. It is not just about the subject matter but also the audience, and I am happy this production is getting a spot there.
The teamwork is evident, particularly with EY Washington also in the musical direction and Kandace Crystal‘s role as intimacy coordinator, which this show has in abundance. Zoë Trautmann’s costumes captured the look of the oppressive times, rounding out the frame.
Kevin “Blax” Burroughs’ lighting once again shines with contours, contrasts, and shadows, mainly in the high-paced, choreographed numbers. Tyler Dean’s set, which blended the school with a church-like frame, also worked in harmony with Burroughs’ design. It must be said that Dean is the first STAGES apprentice to take on a lead design position for an OTC mainstage show, so bravo!
I did miss the famous handheld mic dynamic that is one of the signatures of Spring Awakening, as it gives it this rock concert feel. Some productions do work with recorded music, but for this one, the recorded music versus live also lightened the feel, yet I can understand the creative choices too.
The following notes may be due to having seen the second performance after the opening, but I felt that “Touch Me“ and “Don’t Do Sadness“ were a bit contained. For example, in “Touch Me”, there is an accumulation of feelings that reaches a climax, a catharsis that comes through the singing. Everything is left on that stage, and the audience is right there with all of them. “Don’t Do Sadness” is giving clues to the audience… I am sure the songs will mature with each coming performance. The voices and the harmonies are there, as well as the good impression.
It is a bad idea to skip Spring Awakening, so catch a performance. Currently playing until September 14.
Joseph Prete is the Stage Manager for this production, and Sam White is the Assistant Stage Manager.
