Ahead of its Time
Theatre Review by Geneviève Germain of MonTheatre 12 November 2005
Frank Wedekind is renowned to be the founder of German Expressionist drama. Although his first play The Awakening of Spring was written in 1891 and staged in 1906, it remained censored for many years. With such subjects as the effect of the hypocritical and repressive morality on teenagers and their sexual " awakening ", Wedekind's play was ahead of its time and must have been quite shocking for turn-of-the-century audiences. Poet Ted Hughes's new version of the play, Spring Awakening, is now presented by Persephone Productions, an organization that offers work opportunities for young professional actors and artists, at the Théâtre La Chapelle.
Directed by Gabrielle Soskin, who also teaches and performs theatre, this wide cast of eleven actors becomes the focus of the presentation as the stage is bared from any decor. All the action takes place in front of black curtains with very few accessories, all painted grey. Economy is also in the lighting effects: the whole presentation is very simple and relies mostly on the strong imagery that is brought from the author's, or translator's, words.
During the first part of the play, the story seemingly revolves around discovery and the desire to discover that animates young teenage girls and boys. Love, violence, sexual desire, suicide: nothing seems to be left aside. As these teenagers daydream and discuss, the threat of social pressure and religious morality is still ahead.
Highlighted with many laughs, this first act introduces to the not-so-naive Wendla (deliciously girlish Kate Fletcher), who pleads her mother to tell her how babies come to life. Overwhelmed by this request, Frau Bergman (impeccably motherly Rebecca Croll) tries desperately to preserve her daughter's innocence, and cannot bring herself to talk about such matters. At the same time, Melchior (Aaron Turner) shares his ideas on life and its large amount of unanswered questions with best friend Mortiz (Oliver Koomsatira), who struggles with his bourgeois family's pressure to be successful at school.
The second part of the play is the most critical of the rigid upbringing that these teenagers struggle with. One particular scene where teachers are played by actors wearing commedia dell'arte kind of masks is truly memorable, as they run around chasing each other and arguing about insignificant matters. Questions are raised as we wonder why this youth was left in ignorance.
The whole cast offers a nice interpretation of the play, although some monologues do fall flat as some lengths can be felt throughout the play. However, we can applaud their great mastering of the poetic language that is offered by Ted Hughes's translation.
Frank Wedekind is renowned to be the founder of German Expressionist drama. Although his first play The Awakening of Spring was written in 1891 and staged in 1906, it remained censored for many years. With such subjects as the effect of the hypocritical and repressive morality on teenagers and their sexual " awakening ", Wedekind's play was ahead of its time and must have been quite shocking for turn-of-the-century audiences. Poet Ted Hughes's new version of the play, Spring Awakening, is now presented by Persephone Productions, an organization that offers work opportunities for young professional actors and artists, at the Théâtre La Chapelle.
Directed by Gabrielle Soskin, who also teaches and performs theatre, this wide cast of eleven actors becomes the focus of the presentation as the stage is bared from any decor. All the action takes place in front of black curtains with very few accessories, all painted grey. Economy is also in the lighting effects: the whole presentation is very simple and relies mostly on the strong imagery that is brought from the author's, or translator's, words.
During the first part of the play, the story seemingly revolves around discovery and the desire to discover that animates young teenage girls and boys. Love, violence, sexual desire, suicide: nothing seems to be left aside. As these teenagers daydream and discuss, the threat of social pressure and religious morality is still ahead.
Highlighted with many laughs, this first act introduces to the not-so-naive Wendla (deliciously girlish Kate Fletcher), who pleads her mother to tell her how babies come to life. Overwhelmed by this request, Frau Bergman (impeccably motherly Rebecca Croll) tries desperately to preserve her daughter's innocence, and cannot bring herself to talk about such matters. At the same time, Melchior (Aaron Turner) shares his ideas on life and its large amount of unanswered questions with best friend Mortiz (Oliver Koomsatira), who struggles with his bourgeois family's pressure to be successful at school.
The second part of the play is the most critical of the rigid upbringing that these teenagers struggle with. One particular scene where teachers are played by actors wearing commedia dell'arte kind of masks is truly memorable, as they run around chasing each other and arguing about insignificant matters. Questions are raised as we wonder why this youth was left in ignorance.
The whole cast offers a nice interpretation of the play, although some monologues do fall flat as some lengths can be felt throughout the play. However, we can applaud their great mastering of the poetic language that is offered by Ted Hughes's translation.
