Theater Review: 'Spring Awakening' at Connecticut Theatre Company

New Britain - Connecticut Theatre Company will launch a stellar production of “Spring Awakening” this weekend on their stage at The Repertory Theatre on Norden St. in New Britain. The musical, the first show is CTC’s first full season since the beginning of the pandemic, is co-directed by Erin Campbell and first time director Becky McLean. I was invited in for a sneak peak of this show during the company’s tech rehearsal, and I was grateful for the opportunity to see the (almost) final product.

“Spring Awakening” contains a book (based on the play by Frank Wedekind written in 1890s Germany) and lyrics by Stephen Sater and strong music by Duncan Sheik. The music becomes even more compelling for me every time that I attend a performance, with the less familiar numbers becoming more ingrained in my brain.

Executive director Duanne Campbell describes this musical as “a bold show that tackles a lot of different tough topics” and stresses that it is important to this company to showcase different types of shows. “This one, while at times uncomfortable, is important in providing a voice to people who don’t always have one.” The strong sexual themes are dealt with tastefully with the help of Intimacy Director Alyssa Brown, but this is not a show for young children.

The mostly young performers in the cast clearly have worked hard with the production team during the rehearsal process to make their performances the best they can be, as well as to all bond as a group.

I have seen Galen Donovan in a number of shows at CTC and he has always stood out, not only because he is often the tallest singer/dancer in the cast, but because he both sings and dances so well. Here he gets his chance to shine in the role of Melchior. Donovan calls this “a life changing experience that will never be forgotten.

College sophomore Javen Levesque, who made his amazing stage debut in the title role of “Jekyll & Hyde” with Get Up Stage Company, also gives a very strong performance as Melcihor’s struggling classmate Moritz.

Kevin Kiley plays both Georg and Dieter, Greg Mahoney covers Hanschen and Rupert, Tiernan Shea plays Otto and Ulbrecht and Connecticut native Max Dittmar portrays Earnst and Reinhold. All of these young men do well with their various roles.

Montana Telman leads the talented young women in the role of Wendla, a dream role of hers since she was 14. . She completely embodies the role and sings her solos wonderfully. Kerrie Maguire portrays the role of the wild child Ilse in her CTC debut, Krystina Diaz is Martha, Faith Fernandez is Anna in her CTC debut and Sarah Ford, who has appeared at Square Foot Theatre and Get Up Stage Company, plays Thea.

As all of the adult women in the script, Cindy Maher (above at right) has a wonderfully powerful voice. Stephen Maher (above at left) covers all of the adult men needed in the story in his eighth show with CTC.

The co-directors chose to keep the modern touches of the 2006 Broadway version, because they serve as “reminders that while the time and setting are far removed from modern America, the issues at hand are not.”

There is lots of beautiful lighting operated by David Nunner. The set extends to the two sides of the stage and these side areas are used judiciously. I found it difficult to watch one early scene when there was action on the stage right area while the students were dancing mid stage, but this was probably because I chose a seat close to the stage.

I appreciated the costumes designed by Kathryn Lewis for their authentic look, with appropriate dresses for the girls with low boots and similar variations on the school uniform for the guys.

The orchestra led by Music Director Nick Stanford from behind his keyboard made the alternative rock musical numbers sound wonderful. The way the score is written in that the six live musicians perform backed by a “sweetener track.”

There is some very strong choreography by Kim Saltzman for the young dancers to master, some of it quite acrobatic. The directors made some smart choices when it comes to the blocking of the performers, simpler than what I have seen before. The funeral for one of the characters is both touching and effective. The strong vocals in the final “The Song of Purple Summer” gave me chills.

Go to the CTC Facebook page to view a promotional video recorded last night by Nick Rupuano. ** Please note that this musical deals with difficult subject matter, including abuse and trauma, and may not be suitable for all audiences.**

CTC has yet another hit. “Spring Awakening” at CTC is presented with one 15-minute intermission. The show runs March 17 through April 2. Get your tickets now! www.connecticuttheatrecompany.org/spring-awakening

Nancy Sasso Janis, writing theatre reviews since 2012 as a way to support local venues, posts well over 100 reviews each year. In 2016, her membership in the Connecticut Critics Circle began and her contributions of theatrical reviews, previews, and audition notices are posted not only in the Naugatuck Patch but also on the Patch sites closest to the venue. She recently became a contributor to the Waterbury Republican-American newspaper. Her weekly column and theatre reviews appear in the Thursday Weekend section of the paper.

Follow the reviewer on her Facebook pages Nancy Sasso Janis: Theatre Reviewer and Connecticut Theatre Previews and on Twitter @nancysjanis417 Check out the NEW CCC Facebook page.