“I’d encourage anyone into musical theatre to go and see it “
With the band clearly visible on an otherwise bare stage, looking cool and every inch the 00s rockers in white t-shirts, EUSOG’s interpretation of Spring Awakening feels more like a concert than a traditional musical. The full (Broadway) version runs over two acts and well over two hours, but this is a stripped back, 90 minute version, which I have to say I prefer. It centres on the songs as vehicles to express emotion, with narrative, dialogue and choreography seamlessly fitting in around them. As a performance it’s compact, it’s flowing, it gets to the point and stays there, and to me one of the real triumphs in this production is how each number and scene overlap and blend, rich with energy, tenderness and life.
While musically Spring Awakening may not be as powerful as other rock operas like RENT, this cast do a fantastic job of squeezing every drop of emotion out of each song to make each lyric really hit home, and William Briant’s band let rip with rousing and powerful accompaniment throughout. The company perform every chorus number with great vitality, from the loud The Bitch of Living, to the very delicate and uplifting The Song of Purple Summer. The harmonies are great, the blending on point, and individual solo lines delivered with aplomb.
Some of the acting was a little shaky: Wendla’s rape and Moritz’s suicide didn’t ring as emotionally true as the rest of the performance, but this is a young company dealing with very difficult material, so we must cut a little slack – sometimes the professionals slip-up too.
It’s the power and energy of the cast that make this show a real treat though, demonstrating talent and professionalism far beyond what one might expect from students. Nitai Levi has astonishing control and presence as Melchior, Greg Williamson is a wonderfully pained Moritz with a great pop-rock voice while Isabella Rogers is also beautifully understated as Ilse. Caroline Elms and James Strahan capably perform all the adult roles between them, with great changes in character and authority to make them believable. A special mention to Strahan for his quick turnaround from the emotional funeral scene to playing a completely different character literally seconds later.
It’s such a shame EUSOG’s run ends this weekend, as I’d encourage anyone into musical theatre to go and see it – it really is a masterclass in getting the basics right. If I could, I’d go again.
Reviewer: Steve Griffin (Seen 10 August)