| Posted On | 15th May 2022 |
|---|---|
| Posted By | Musical Theatre |
| Author | Cillian Fahy (Chairperson) |
| Location | Belltable Theatre |
See below for the review of our first ever production, 'Spring Awakening' written by Suzanne O'Leary, Sullivan Adjudicator for the Association of Irish Musical Societies.
Spring Awakening, a coming-of-age rock musical focusing on adolescent anarchy and the trials and tribulations of growing up. This award winning musical tells the story of how young people struggled when controlled by repressive social and sexual rules in a provincial German town dominated by Lutheranism. As they try to navigate their way through this teenage anxiety, they deal with homosexuality, rape, suicide, abortion and sexual desire. Their stories unfold in this bygone world of draconian religious beliefs as we witness them journey through adolescence into adulthood with poignancy and passion.
Music by Duncan Sheik and book and lyrics by Steven Sater, Spring Awakening opened on Broadway at the Eugene O‘Neill Theatre on December 10th 2006, winning eight Tony Awards, four Drama Desk Awards and a Grammy. This landmark production, based on the 1891 play of the same name by Frank Wedekind, is an angsty rock musical, which explores the lives of a group of young adults as they try to find themselves.
UL Musical Theatre Society, a relatively newly formed Society, finally got to showcase their very first musical since their inception in 2019, and what a showcase it was. The atmosphere certainly confirmed the anticipation, as it was just electric, with production team buzzing around and friends and family settling into their seats in the Belltable Theatre. To be honest, I didn’t know what to expect, but I can now ratify, I was pleasantly surprised and quite overwhelmed by some of the young talent I witnessed. The set was dimly lit on a dressed stage, with a loft structure centre hosting a back lit diamond shaped window. At either side there were two large tree flats with branches sprouting from the top and four flats, two either side painted similarly and giving continuity. Later in the production we would see the two back set pieces turn and move down stage to cleverly double as house interiors and a doctor’s surgery. Although the set was simple, it was very well utilised and the lighting was terrific, with pools of lights only used were necessary, pin pointing faces and actors and aiding the ongoing narrative. Cueing was also sharp and they were some fabulous shafts of light from upstage left that almost gave a heavenly concept to certain scenes. There was nothing static about this production, directed by Cora Tyrell, even the slower songs had great pathos and held the audience. The ensemble was in constant motion and we witnessed some rigorously and artful staging. A vivid version of the narrative was delivered, digging deeper and getting darker. The singing was to a high standard and the musical director, Michael Young, produced some great work here, as it was full of sensory overload and fabulous harmonies. Choreographer, Pam McGlynn, was certainly up to the challenge and this show was a fine specimen of compelling choreography. Chorus work was inventive and well-integrated into the scenes keeping all the action fluid and forcing the narrative forward with a propulsive drive. It is a rocking good musical score and this was certainly matched by the ferocious performance from Conor McNelis, playing Melchoir. His elaborately textured performance constantly pushed boundaries. He had real passion for the role and his energy was off the scale, at one point propelling himself onto the loft structure without the use of the ladder, just a leg up from the lads. Athletic and fearless, yet capable of truthful intimacy and intense sincerity. Great work from Mr. McNelis. Wendla, played by Avril Healy was sublimely beautiful to watch and I really felt for poor Moritz, played by Cillian Fahy, with his nervous ticks and his fine portrayal of a young man traumatised by puberty. Colm Hogan was a dominant figure in this production, with excellent comic timing and fine acting and vocals. It was unashamedly silly and gloriously funny to watch. Angia McCarthy shone out with beautiful vocals as Ilse and Ciaran O’Keeffe was just hilarious to observe as Ernst, demonstrating a fine capacity for comedy. Other characters also to high standard were, Otto, Georg, Martha, Anna and Thea this tightknit group of friends were well integrated into the production, and gave rich support to the principals with a high emphasis on performance and great delivery of vocals and choreography. The crew behind the scenes, led by Stage Manager, Eimear Callaghan, did a stellar job. There was nothing lacklustre about this production of rebellious youths, unfortunate events and lost souls. Firing on all cylinders, this talented group of young visionaries brought us the rapturous act of story-telling and in no uncertain terms put their stamp on this performance. It would be no surprise to me, if I heard some of the names from this production pop up in musical theatre circles in the future. UL Musical Theatre Society, without a doubt, have some stars of the future in their presence.
The very best of luck with your next endeavour and please keep doing what you so obviously love, and are undeniably talented at, making wonderful musical theatre.
Suzanne O’Leary
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