UNDERAGE rape, child abuse, sadistic beatings and suicide, not the normal stuff of uplifting theatre. But throw in a spot of comedy and a clutch of songs and it’s all here in this bizarre, uncomfortable but ultimately rewarding offering at the Loft.
Taking its narrative, and partly its message, from the late-nineteenth century play of the same name, Spring Awakening tackles the tougher side of growing up and the dreadful consequences of doing that in the dark.
A group of young teenagers starved of even the scantest idea of sexual knowledge fumble, both figuratively and literally, through urges and experiments on a path inevitably leading to bewilderment, danger, upset and tragedy.
That Wedekind’s original sparked enormous outcry is a matter of historical record. But the play has continued to garner controversy ever since with successive generations finding different problems within it depending on the social mores of the time.
The masturbation scenes which previously would have scandalised are all-but comical nowadays; the subject of incestuous sexual abuse is not however, and provides one of this production’s more chilling, unsettling moments. And there are a few to choose from.
The notorious rape scene certainly resonated and triggers our current sensibilities over consent. Not so evident in this showing is Wedekind’s placing those involved as 14-year-olds. That would be a tough one to get past the censors these days.
Nathan Dowling and Annabel Pilcher as the teenagers caught up in their own confused, hormonal awakening are both excellent. The scenes between them possess an intimacy and gentleness often absent from the bluster and posing elsewhere. Both handle the songs adroitly.
And two hugely entertaining performances come from Elaine Freeborn and Michael Barker who cover the full gamut of adult parts between them with style, tenderness and comedy.
The songs are decently presented and, once a few balancing and intonation creases have been ironed out, will only get better. The partly-visible live band under James Suckling cover a fair range of sounds.
Chris Gilbey-Smith’s production is nicely staged. Kim Green’s design provides height and variety for the many set piece songs. A particularly successful element is the use of graffiti chalked on the walls by the cast and appearing on the stage itself through some inventive projection. Bit by bit messages appear as a lasting commentary on the action.
The strict church life of the time takes a beating and its insistence on fairly unquestioning adherence to a narrow morality could easily be something a modern audience would struggle to give full credence. Even the most cursory glance into the heartlands of America’s rapidly backsliding religious extremism would prove the threat is as great as it has ever been.
Remove education and enlightenment and things won’t end well is the message here and, uncomfortable as it sometimes is, this show carries that point well.
Spring Awakening runs until Saturday April 12. Visit lofttheatrecompany.com for further details.
