Spring Awakening

In a serendipitous pair of ‘firsts’, this musical is the inaugural full-scale production from Black Box Theatre and it’s also this reviewer’s first opportunity to see a Launceston production ahead of a planned relocation to the Apple Isle later this year. As asserted in their mission statement: “Black Box Theatre Co. is dedicated to presenting innovative and thought-provoking productions that challenge and inspire audiences; and creating a platform for emerging artists while engaging the community through the power of theatre.” 

That’s a lot to promise - but the fledgling company undoubtedly kicked things off with a bang - with this enthusiastic and heartfelt production. 

It’s amazing to recall that the source material was written in the late 19th Century, given that the musical rendition (debuting on Broadway in 2006) is such a bold and delightfully raunchy romp. Mind you it took nearly a decade of rewrites Off-Broadway to get the tone just right, resulting in a swag of Tonys. 

The overarching narrative: young people struggle through the confusing, awkward passage to adulthood in an oppressive world where they are deliberately kept in the dark about all the facts of life. In this strict environment, it’s little wonder their burgeoning sexual stirrings, literally erupt in an explosive and, at times downright comical way. 

Meanwhile, the grown-ups are determined to maintain a puritanical and outright abusive reign. This fact then gives rise to some very dark themes. It’s a demanding, emotional roller-coaster that requires a disciplined ensemble to really draw the audience in. Mission accomplished. 

The young leads: Nikia Breen, Temiya Knight, Conall Cassidy and Chelsea Halliwell-Herbert all provide truly outstanding vocals and each gives heartfelt performances, while the charismatic, warm presence and delightful vocal dexterity of Deklan Haas in his pivotal role was absolutely mesmerising.

The rest of the ensemble and the two “Adult” players (performing in multiple roles) took turns stealing scenes, while traversing the dynamic mood shifting required of them throughout, with nary a hiccup. This tight cast is nicely supported by superb musical direction and creative choreography. 

Those moments where the entire cast is required to stand and deliver as a group - literally sent tingles down the spine. 

Director Lauchlin Hansen and his highly professional team are to be commended on taking what could be seen as a risk with their first production, but it’s difficult not to see these themes as relevant as ever, especially given the alarming backwards drift towards extreme, fear-mongering, conservatism, that’s trying to take over the USA.

Very well played, Launceston! 

However, as good as the show is over-all, the cavernous venue’s acoustics did periodically work against them in regard to lyric and dialogue clarity. This grand old church - while positively magnificent, wasn’t built with modern musical theatre in mind.  More drapery and sound-absorbing scrims/set-pieces would possibly have helped dull the echo - but these things cost money. Now that the (high level of performance) gauntlet has been thrown - hopefully some serious financial sponsorship will materialise. This first-up production augurs well for more stunning productions to come, I’m sure. 

Next time I’ll BYO pillow (I swear Church pews were made deliberately uncomfortable, just to punish us poor *sinners).

NB *worth it.

Rose Cooper