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Spring Awakening 
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Post Spring Awakening
This is the greatest show on Broadway right now...hands down. I havent seen it, but I am in love with the Soundtrack. Does anyone else have it?

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Fri Feb 09, 2007 9:24 am
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yeah spring awakening is awesome, i wish i could see it but i adore the cd

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Fri Feb 09, 2007 4:55 pm
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I'm not trashing your musical with my next statement but I need to point something out.

Just because the music is good doesn't make it a good musical. The book and the story need to flow seemlessly together and make a good show. I mean there are a ton of shows out there that have great music but lack a good book. There are shows with great books and horrible music. Dear World, for instance failed, for several reasons, but one was that it had a poor book. Dear World's music is phenominal. The book for Anything Goes has often been looked at as just a chain of goofy things happening to link together Porter's great songs. On a Clear Day You Can See Forever has beautiful music with some of Lerner's bests lyrics, however, his book just lacked certain things that needed to be accomplished. The ending is crap. The scenes in the past should be more interesting since Dr. Bruckner is attracted to Melinda initially. However, the scenes in the present were much more fun and interesting for the audience in the end. My point is don't say things like "It is the best show on Broadway...BTW I haven't seen it yet and am going by how much I like the Recording." because when you actually see it, you may not like it as much.

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Fri Feb 09, 2007 5:53 pm
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Sweeney Hyde,

Actually I have seen excerpts of the book And I can say It probably is great. I have read parts of the original script, and the original play is wonderful. I can see your point...but you know, judging the crap thats on Broadway right now...I can see that it has the most refreshing score. Thats my opinion, if you dont agree with it---thats okay. I dont really care.

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Fri Feb 09, 2007 10:01 pm
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It seems rather cheesy from the promotional vids and the score, although it IS music that I'd typically listen to, doesn't really appeal to me.


Fri Feb 09, 2007 10:22 pm
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hmm, i see what you mean sweeney but in my case it usually doesn't work that way. If i'm absolutely obsessed with a recording when i see the show and can finally hear the music live i'm so happy about that that i almost don't really care if the book is bad, and i've never thought it was anyways.

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Fri Feb 09, 2007 11:23 pm
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You know I dont have the pleasure that New Yorkans have to be in a place to see a show. I live in the middle of no where, Texas--far away from Broadway...And the only way I can see a Professional Broadway Show, is if Either a) I fly over to NY or b) check out the touring cast come to Dallas. That's it.

So you know, I probably wont see Spring Awakening...because I am not planning a NY trip until 2008. If I am lucky.

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Currently: Ali Hakim in "Oklahoma!"
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Guys and Dolls- Benny Southstreet
West Side Story-A-rab
Forum- Hero
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La Cage Aux Folles-Hercule
Fiddler on the Roof-Sasha/Dancer


Sat Feb 10, 2007 12:06 am
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The promo vids, particularly The Bitch of Living, is nothing like the musical. Much more MTV than it actually is. I admit the promo videos had me VERY skeptical about Spring Awakening until I just fell head over-heels in love with the cast recording. And it is true that you can't judge a show solely by the recording. I was still a bit uncertain about how the music would fit into the show, but I saw it last night (standing room) and it worked fabulously. I do love the recording, but it sounds nothing like the music in the show, which is much much more amazing. The acting was lovely, the staging was brilliant...lots of energy and emotion, etc. And the entire cast was totally sweet talking to all of the 20 or so fans who waiting in the frigid cold for 45 minutes after the show. Awesome people, and it's incredible what they are doing at such young ages.

If you get a chance, see the show. Very different from the cast recording, in the best possible way. And just an all-around unique and beautiful touching show.


Sat Feb 24, 2007 10:41 pm
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Thank you for the review, xani.


Sat Feb 24, 2007 10:44 pm
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I have seen the show and... meh. I only paid $26 to see it though (student discount rocks) so I'd probably be more critical if I paid regular price. (Although I would have liked to have known that I was going to get a full view of an actor's anatomy at eye level before I bought the ticket...)

Visually it was quite interesting, but as with many shows that have great scores but terrible books, it had a few problems. The storyline basically felt like it was rushing to get to the next song. There were a lot of things introduced but never explored: the effects of child molestation/abuse in a sexually repressive society, the psychological effect of discovering you're into sadomasochism, homosexuality in a sexually repressive society...

They tried to set it up like RENT, with multiple plot lines that are interweaved... but not as sucessfully as they've really only got two plot lines Moritz's downfall and the Wendla/Melchior romance.

Focus is on the romance of Melchior and Wendla which is never fully developed. The two have their "Awakening" after Melchior beats the crap out of Wendla because she asks him to. He feels guilty about hurting her, and alarmed that he got so turned on about it, but never mind these seething psychological issues that would have made him interesting, because here comes Wendla again to snuggle and comfort him and take all the blame (her masochist streak is about a mile wide). They end up getting it on, but just before consummation Wendla hesitates, but that really doesn't matter because Melchior plows on. The issue of consent is never addressed. That's just the first act.

Moritz is probably the best explored character psychologically, and was probably my favorite of the younger characters. His romance with Ilse is whipped up at the last minute, and Ilse gets one monologue to explain why the hell she's there and why the audience and Moritz should care. She marginally suceeds but she's an interesting character that could have better been used within the plot. This plot, however, dies by the beginning of the second act.

The "romance" between Hanschen and Ernst is the filler, of which they get one song to explore. In that song they've got to reintroduce themselves as characters (they've been chorus for the most part, I only remember Hanschen because he was jerking off centerstage to a monologue from Othello), and begin a completely unbelievable and more than a little creepy seduction. We've been given pretty strong indications all along that Hanschen is gay (drawling nasal effeminate voice, feminine gestures...), Ernst we pretty much know nothing about, but he's played very young. Hanschen's predatory seduction of Ernst is basically played for laughs. Like homosexual relationships in small towns in 1890s Germany were completely acceptable while heterosexuality was completely repressed.

The adult characters (all of which are played by two actors) were also neglected. We get that they're totally effing up their kids because they won't communicate with them about this very natural biological process. The adults come off as punitive or clueless but we never get to understand why they feel they have to protect their children in such a way. Frustrating also is that all the adults are played by two actors, and we have to rely on detecting tics particular to characters to identify who's parent they are (which takes a few moments in which we've lost what they're talking about). The two actors doing an excellent job of making those differences as apparent as possible, but would it have killed costumes and props to give all the adult characters something that we could visually identify them with? Stephen Spinella was probably the strongest actor in the cast, and the one whom I adored the most. He had me bawling with one incoherent cry that whole songs couldn't inspire in me.

The final nitpick may be a result of the school I went to, but I LOATHED the hand-held microphones. Especially since they were completely unnecessary as I could see the wireless mics in their scalps. Almost every frickin' song they have to whip out the microphone to sing into like a whiny pop-punk singer. It works with the music, but the only character that I saw using it effectively and in character was Moritz. Occasional and discriminate use would have been fine, but it was definitely overused. I imagine the costumers must have hated it too, because they had to make sure that the costumes could hide those ugly things.

It wasn't terrible, but it wasn't genius. It's RENT Lite


Tue Feb 27, 2007 8:28 pm
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As far as the book being so-so...it kind of sounds like ANything Goes...how the story is there to link together Porter's great songs.

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Wed Feb 28, 2007 2:10 pm
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I didn't think the show was perfect at all, but I do disagree a lot with your review, QuaxoCoricopat, so I look forward to responcing sometime after I get my Great Gatsby homework done.

For now I will just point out that the purpose of the hand-held mics, I thought, was not completely asthetic and pointless. They used the mics to distiguish between the songs will, shall we say, believable lyrics, and the ones that blended the 1890s (or whenever the musical was placed...it felt like a variety of times, and later than the 1890s, sometimes...and I mean in more than the obvious reasons that they were jumping into pop punk anthems and singing about sterios) with the 2000s. It was a distinct artist choice that was made to use the mics in the songs where they were singing lyrics, like "Then there’s Marianna Wheelan/As if she’d return my call." which are completely out of the context plot and characters, and modernized, but still send some message of emotion into the story.

I might be ranting, but I'll go back and do a more in-depth counterpart to that review in a bit.


Wed Feb 28, 2007 4:00 pm
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