Spring Awakening

Spring Awakening has broken new ground for Portsmouth Players. Although set in late nineteenth century Germany, this is an edgy and contemporary coming of age musical that addresses many issues that were taboo at the time and are still difficult now. Teenagers discovering their burgeoning sexuality, society’s narrow-mindedness, child abuse, suicide, teenage pregnancy, abortion, and gay love: are faced head-on. Yes, all of that in one show! It is so different to the family-friendly fare we are used to from Players, but all power to you for having the courage to stage it.

Director Nick Williams is new to Players but has performed in and directed many successful shows with other groups locally, and he was just the breath of fresh air needed to bring together this very strong young cast and get them to give us something magical. Credit must also go to Choreographer Bee Anderson, also new to Players, for the intelligent, fluid movement that used the small stage to the max.

Players’ intimate Studio Theatre is the perfect venue for a production like this. A completely black set with a single black chair set centrally greeted us, and that was pretty much it. This left it to our imaginations and the talent of the cast to create the backdrop and allowed scene changes to be swift and the action to move at a cracking pace – perfect. Costumes too were minimal just giving us a flavour of 1890s' Germany.

I have alluded to the talented cast and WOW, what talent: every single one of you. Young lovers Wendla and Melchior were played just perfectly by Beth Evans and Charlie Frame, so innocent, tender, and believable. Adam Fox ensured we felt every rejection that Moritz suffered, deeply, wonderful characterisation. Hanschen and Ernst’s (Dario Davies-Recchia and Kyle Major) love for each other was only touched on, but they made it count. Great support was provided by their friends Martha (Sarah Melville), Thea (Abby Daniels), Anna (Chloe Harvey), Ilse (Amy Pickance), Georg (Will McGovern) and Otto (Laurence Coqueral) – each a well-developed character. Playing all the adult roles were Andee Jordan and Robert Day, not flinching from the cruelty (even glee) that their roles often required them to display.

Singing throughout, whether solo or choral, was of a fine quality, especially given what, to me, sounded like a very difficult score of folk-infused alternative rock – totally at odds with the period of the piece but somehow fitting perfectly. Musical Director Dan Brown should take great credit for this. Sound levels were spot-on, and the music never swamped the singers.

What an impressive and powerful production that was – unflinching in tackling the difficult issues raised by the script and utterly professional in every respect. I’m sure the material did not suit everyone, but I hope that the very enthusiastic reception of the audience gives you the confidence to do more challenging material of this ilk in the future. Huge well done to everyone involved and I hope it encourages a whole new generation of people to come and see what you can do.

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